Word: gait
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Dates: during 1990-1999
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...court their bane," and scolds those spending their lives "In frantic mirth and childish play/ In dance, and revels night and day..." The music during this mercifully short third section is much slower, perhaps taking its cue from Jennens' admonition that we "Keep...still the same in look and gait/ Easy, cheerful and sedate." This final section is certainly sedate, almost verging even on morose, culminating in the final couplet of the work: a grandiose choral motto, "Thy pleasures, Moderation, give/ In them alone we truly live." Moderation is not quite so enchanting a subject as either the joie...
...life's work to wage war on ophidiophobia (fear of snakes). It hasn't been easy, he admits. Even the saintly Albert Schweitzer, who went out of his way to avoid stepping on bugs, didn't hesitate to shoot the beings whose distinguishing characteristics are a slithering gait, a forked tongue and hypodermic-needle fangs that can (if they belong to Australia's cobra-like inland taipan) deliver enough venom in a single bite to kill 200,000 mice...
...partner in 13 films) strips for him in Yesterday, Today and Tomorrow (1963). As the Sicilian aristocrat in Pietro Germi's wonderfully malicious Divorce Italian Style (1962), he is a creature of tics and slouches, plotting his wife's death and stalking the seraphic Stefania Sandrelli with the gait of a mopey Groucho. He made informed fun not only of these familiar Italian comic figures but also of his own star machismo. At the end of a guest stint on Laugh-In, TV's vaudeville for the Nixon years, he stared moonily into the camera, then yanked off his toupee...
...bull or a bear of a man, with a slightly shambling gait and a dented cannonball of a head on which a hard derby hat was jammed like a secondary dome. His solidity and doubt come across in Self-Portrait with a Horn, painted in 1938, the second year of his exile from Nazi Germany. Max Beckmann holds a bugle, which he has just blown. His eyes don't meet yours; he looks away, listening for an answering note. It's a piercing image of the artist deprived of his context, hoping to connect, uncertain that he can. European...
Sling Blade may be too scrupulously attentive to the rhythms and speech of the small-town South; it easily breaks the all-time record for use of the word reckon. But as incarnated in writer-director Thornton's laconic bass voice and wonderfully shambling gait, Karl is a memorable, affecting creature--so gentle he daren't sleep on an offered bed for fear of spoiling the room's perfect primness, so righteous he will consider killing to protect his adoptive family. Sling Blade meanders when Karl isn't driving it, but for the first half-hour and the last...