Word: gaunt
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Dates: during 1960-1969
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...labor disputes have four times brought the Met to the brink of disaster. In 1961 its opening was ensured at the last moment deus ex machina (when President Kennedy intervened). But this time, New Yorkers were realizing with shock, there might be no opening at all. Worried, tired and gaunt, Met General Manager Rudolf Bing told TIME, "We don't know where to go. It is now a matter of life and death...
...smokers are miserable instead of happy, look stale instead of springtime-fresh, cough instead of smile. By far the most chillingly effective ad is an appeal by Actor William Talman, a longtime three-pack-a-day smoker. Talman, who played the prosecuting attorney in the Perry Mason series, looks gaunt and ill as he appears onscreen with his family. He tells viewers: "I have a family consisting of six kids and a wife whom I adore, and I also have lung cancer, which means that my time with this family I love is so much shorter." He died last August...
Although Blocker's performance was difficult to match, Leigh Woods as Saul and Frazer Lively as the witch came close. Miss Lively's witch was an imaginative if not completely successful attempt to break away from the stereotype of withered, cackling, old crones. Gaunt she is, but she displays a sensuality when she strokes Saul's cheek that casts doubt upon the depths to which she has plumbed arcane science...
...Shame at our minds, but instead succeeds in an overall effect. Making a non-intellectual film he has at last fused his talents as writer and director, and simultaneously bridged the space between his screen and his audience. Still, many of the devices he uses are vintage Bergman. Gaunt Max von Sydow, for example, plays the archteypal Bergman male--weak and childish, incapable of even killing a hen for supper, leaning on Liv Ullman, his strong loving wife (much like Gunnar Bjornstrand and Eva Dahlbeck in a happier film, Smiles of a Summer Night). Here, too, the estranged couple...
...message. Peter Ivers' music fits the program brilliantly, and the lighting--by Alessandro Vitellie, Ken Chang, and Richard Strother--is nothing less than fantastic. There are times--as in the second movement when a violent, fiery red light floods the stage, then yields suddenly to a gaunt, blue, empty light--when the light seems like an ether in which the dancers exists, so closely a part of their dance, that they are indistinguishable from...