Word: facials
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Dates: during 1970-1979
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...creates his Broadway role of John, Stanley's friend and upstairs neighbor. Writing about the 1961 production, Critic Robert Brustein observed that "Mostel has a great dancer's control of movement, a great actor's control of voice, a great mime's control of facial expression." The film preserves Mostel's virtuoso performance, including a long, bumpy transformation from man into rhino. But the control that Brustein admired is not so apparent under O'Horgan's direction. Mostel, unchecked and unchallenged, easily skids into self-parody. Still, his billowing, bellowing metamorphosis into another...
...this is abundantly plain in the R.S.C.'s staged reading from her works. The trouble is that there is nothing to dramatize. The lines are autotelic. Adding facial expressions, making gestures, moving about the stage, even if done by three women instead of one, provide no additional dramatic dimension. Nor do they evoke any emotion or achieve any resonance that does not already exist on the printed page...
...times. For the flamboyant Ali, there has been the frustration of waiting for a rematch with Smokin' Joe, and more recently, the shattering of his reputation (and jaw) at the hands of Ken Norton. And since the last go-around, Frazier has undergone the drawn-out recuperation from the facial pummeling Ali gave him and, most recently, the humiliating de-regalization by George Foreman as heavyweight king...
...Butch Cassidy may not have been very good, but it made a bundle, so what difference does it make? Newman and Redford pass a few facial expressions between them and try to cool each other out. If there ever was much of a script, it can be said to have gone to waste...
...music. He habitually speaks of his characters as if they were people ("The Coyote fulfills Santayana's definition of a fanatic-someone who redoubles his efforts when he's forgotten his aim"). Moreover, he thinks of them as people who make ideal actors: they can achieve any facial expression or gesture the director desires, thus freeing him to create "pure cinema." Jones insists on using full animation, which requires more time and expense than the so-called limited animation often seen on TV on Saturday mornings, in which sometimes nothing moves but the mouths, and the same static...