Word: gaslighted
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Dates: during 1980-1989
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...Countess as among the "loveliest" and "most charming" of Shakespeare's heroines, while dismissing Bertram and Parolles as unworthy of the ladies' or our interest. By Act V, Helena's passion for her unrequiting snob has become an act of beatific willfulness and the stuff of gaslight melodrama...
DIED. Walter Reisch, 79, Academy Award-winning screen author who wrote, and occasionally directed, some 25 films in Austria and Germany before fleeing to the U.S. in the 1930s to script hit movies for Greta Garbo (Ninotchka), Ingrid Bergman (Gaslight) and Vivien Leigh (That Hamilton Woman) and to win an Oscar for the 1953 disaster epic Titanic; of pancreatic cancer; in Los Angeles...
...performances; of a heart attack; in Los Angeles. He was known, to his occasional annoyance, as a woman's director for his ability to evoke inspired work from many of the great actresses of the 1930s and '40s, including Academy Award-winning performances by Ingrid Bergman (in Gaslight, 1944) and Judy Holliday (in Bom Yesterday, 1950) and memorable ones by Greta Garbo in Camille, Judy Garland in A Star Is Born, and Katharine Hepburn, Cukor's discovery, in ten productions, including The Philadelphia Story and Adam's Rib. Cukor also directed James Stewart, Ronald Colman...
...floors of the historic west wing, labored over by 2,000 construction workers and hundreds of special craftsmen, do gleam with turn-of-the-century opulence. From 6,000 sq. ft. of marble mosaic floors, up monumental stairways, past trompe I'oeil wall panels, rich brocaded drapes and gaslight-era crystal chandeliers to the newly bronzed dome, the 66 rooms resound with memories of cattle barons, gold-rush millionaires and homesteaders from earlier eras. One carefully repaired mosaic depicts Minerva deep in thought, accompanied by the state symbol: a grizzly bear. That symbolic partnership of classical restraint and belligerent...
...young artist in Paris at the turn of the century, such material could not last forever, and not all Picasso's experiences were gaslight and garters. Living in poverty in the little Spanish artists' colony in Montparnasse, he identified himself in a sentimental way with the wretched and down-and-out of Paris, the waifs and strays. This wistful misérabilisme, verging on allegory, was the keynote of his so-called Blue Period. Late in 1901 he had painted some Gauguin-like figures, using the characteristic flat silhouettes and solid blue boundary lines that Gauguin, in his turn, had extracted...