Word: flourishings
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...every dictatorship, only music considered ideologically harmless can flourish. Today, cultural life in Czechoslovakia is apparently the most repressed and sterile in Eastern Europe...
...personal dramas in The Day of the Locust are so sour and abject that one understands why Schlesinger ended the film with such a desperate flourish. All the characters from the book are here: Homer Simpson (Donald Sutherland in a fine performance), the boggled Midwesterner whose hands, West said, "had a life of their own"; Harry Greener (Burgess Meredith), a busted-down vaudevillian whose daughter Faye (Karen Black) is the sort of teasing, intemperate beauty who slaughters men with a smile. Karen Black is a bothersome actress at best, strident and sloppy; she does not even have what acting schools...
...first beneficiary of organized crime is the organized criminal. The second is his well-paid opposition. The detectives, private guards, attack dogs and Kung Fu instructor all flourish in this lawless epoch; close behind are the writers of self-defense manuals. The most recherché of these literary crime fighters is David Krotz, author of How to Hide Almost Anything. Krotz, who is a carpenter as well as a writer, conjures up a harrowing world. Intruders perch upon window sills, second-story men prowl through closets, burglars tiptoe through kitchens and bedrooms. Their quest...
...home, driven by NASCAR stock car pilot Joe Frasson and other members of the Bolus and Snopes (named after the Faulknerian family--auto racing is a crass sport and Snopes symbolizes pretty well a lot of what most auto racing is like) Racing Team, managed to finish with a flourish in 44 hours. According the B & S co-driver, a racing photographer, the mobile home hired a police escort from the county line to the finish for the standard rate of $75 thus missing all the red lights and other foulups that might beset other less well-planned entries. "There...
Like other famous closing scenes - the frozen frame at the end of Truffaut's The 400 Blows, for instance, or the camera moving down the long line of waiting men in Max Ophuls' Lola Montez - this one is made with a flourish of virtuosity. The sequence is accomplished in a single stunning shot, which goes from Locke's hotel room slowly out into a town square and back again to the win dow of the hotel. The elements shift and change, but the moving camera gives them continuity. Without a single cut, the scene lasts seven minutes...