Word: facially
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Dates: during 1980-1989
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...clearly knows the depth of Nicholson's talent because the camera is constantly moving in for those tiny flashes of expression that probably would have been lost with another director. This is one of the elements that makes the movie feel so masterful--Rafelson wants you to notice the facial ticks and pulsing veins in his quick close-ups. He is no less indulgent of Jessica Lange as she goes through her role of the petulant hellcat. Again and again. Rafelson sets up scenes that point to her vicious, fatal beauty, to give the sense that it is doomed from...
...bestselling Mommie Dearest, the real surprise is that little Christina was not actually done away with by her mommie severest. Now Faye Dunaway will unwrap that dirty linen again: Dunaway plays Joan Crawford in the movie version being shot in Los Angeles for a scheduled September release. The facial resemblance is clearly a casting director's dream. Says Dunaway: "It was scary the first time I saw it." She puts Crawford the Legend before Joan the Mom. Faye's judgment: "I have nothing but admiration for her. She was one of the last great movie stars." Dunaway...
...worked under the single professional name Nadar, and his son Paul. Their subject is Michel-Eugène Chevreul, an elderly scientist and expert on the theory of color mixing. Visible in some frames: a tubular machine that recorded Chevreul's words to be set alongside his facial expressions in the Paris weekly Journal Illustré. In one picture he is saying: "I must make you see. I want to make you see because it is when I see that I believe...
...University's Institute of Reconstructive Plastic Surgery, a center that combines surgery with psychology and speech therapy to mend the psyches as well as the features of the disfigured; of a heart attack; in Southampton, N.Y. The University of Paris-trained Converse pioneered many surgical techniques, including cranial-facial restructuring, edited a seven-volume text on reconstructive plastic surgery known in the field as "the bible...
...Neill also has the disconcerting habit of changing facial expression flamboyantly at every line he hears, particularly noticeable in O'Neill's many scenes with the exemplary Zabusky. The same heavyhandedness unhappily characterizes O'Neill's singing. His voice is rich and resonant but, like Sheldon's, somewhat stentorian under the circumstances...