Word: forlornly
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Dates: during 1970-1979
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Rather than pretend that this material makes any naturalistic sense, Director Mark Rydell (Cinderella Liberty) shrewdly goes for broke. The Rose has the same visual excess and garish romanticism as the oldtime Technicolor backstage sagas. When Rose gets into a yelling match with her manager (a somewhat forlorn Alan Bates) or plays in bed with her pickup of a lover (a frisky, sexy Frederic Forrest), the closeups are steamy and relentless. When Rose lands by helicopter at her nighttime stadium concerts, it looks like the arrival of the mother ship in Close Encounters (both films were shot by Vilmos Zsigmond...
...underlying each of the master's farces was the coherent comic statement that blithering idiocy was the finest bulwark of the Empire. Donleavy's figures are too slackly drawn to be believable as caricatures and the only statement made by the novel is not comic but forlorn: the author has nothing to say. He seems to have few thoughts about the theater and none about London, or about an aristocracy that refuses to notice that it has been extinct since...
...intersection turns out to be an entrance to Golden Gate Park. At sundown 40 people are crowded around a beat-up purple and white bus. Jeez, how will they all fit? Adam, a frizzy-haired, forlorn-looking grad student in an orange serape, says at least six passengers can bunk in the luggage racks. It begins to rain, and soon sleeping bags are turning to mush. There was no receipt for that $10 either. Will there be a seat? The woman was pretty evasive on the phone. All this secrecy, the whole scene, in fact, brings back college days...
...plan to stay in it for a while and--comfortable in the thought--soon be gone. But Harvard will be here long after that, still forging the community of educated men and women, still taking in the minds of its students and bending them to face a world of forlorn ideals and dismal sciences. My hope, and my prayer, is that it will at least leave them their souls...
...Childhood, Crews turns to non-fiction and grants his landscape something it never had before - credibility. The place is Georgia; the time, the Depression, when "there wasn't enough cash money in the county to close up a dead man's eyes." His people are the forlorn, gaunt sharecroppers fixed in the grim photographs of Walker Evans. James Agee, whose Let Us Now Praise Famous Men accompanied Evans' work, portrayed his subjects with the sympathies of an outsider; Crews evokes them with a familial intimacy...