Word: fleshed
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Dates: during 1990-1999
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Count on it to keep coming back. The violent and raunchy streak in civilization runs deep and long into the past. More teenage boys might be attracted to the classics if they knew about Homer's graphic descriptions of spear points ripping through flesh in The Iliad or the quarts of stage blood needed for any production of Titus Andronicus. As for sex, the lewd posturings in some paintings of Hieronymous Bosch would be rated NC-17 if they showed up at the multiplex...
...untie the cords of the yoke, to set the oppressed free and break every yoke? Is it not to share your food with the hungry and to provide the poor wanderer with shelter--when you see the naked, to clothe him, and not to turn away from your own flesh and blood...
Clint Eastwood didn't hate the novel. What he loathed were several early-draft screenplays based on it. They tried to flesh out Robert James Waller's slight narrative with flashbacks and fantasy sequences, and one of them even imposed a conventional happy ending on it, in which the most famously sundered lovers of our time, roving photographer Robert Kincaid and farm wife Francesca Johnson, were reunited in Katmandu. Eastwood also fell into mutually uncompromising disagreement with the original director, Bruce Beresford, about casting the feminine lead. He told the producers he would move on if these problems weren...
...idea of Ryan as the comedian who copyrighted Cute is too limiting; she has dark tones in her palette as well. She's done terrific work as down-and-outers in Flesh and Bone and When a Man Loves a Woman and as the body-snatched bride in Prelude to a Kiss. The lovely wrapping is still there-but beneath it, the hint of fervid desperation, of a deep wound she both hides and nurses...
...same sensibility that recorded the nameless piles of human bodies in The Disasters of War. This is the realization of the inevitability of death that the older vanitas paintings set out as metaphor, but here it is concrete and direct, inscribed in every molecule of sad flesh. One realizes that Goya could see and feel more death in some mutton than Rubens could put in a whole Crucifixion...