Word: gautier
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...lavish gambling clubs and boudoirs as well as the theater, the story centers around Marguerite Gautier, a beautiful courtesan who finances her taste for pretty ballgowns and daily bouquets of camilles through the sizable wealth of her various lovers. Her life consists of soirees with her amusing entourage of friends and a string of liaisons. Occupying the heart of the movie is a love triangle between Marguerite, the wealthy Baron de Varville, compellingly played by Henry Daniell, and the less affluent Armand Duval, portrayed by the dashing Mr. Taylor...
...alone, in an acting empyrean, in George Cukor's 1937 Camille. As the selfless courtesan Marguerite Gautier, Garbo transforms her face into a life- and-death mask, and Dumas's melodrama into classical tragedy. Every calculated audacity -- the hint of disintegration in the eyes, the dry little laugh exploding into a tubercular cough, the weight of a thoughtful passion that gives substance to every line of dialogue -- testifies to Garbo's acute, intuitive knowledge of screen acting, and it allows her to play Marguerite at high pitch and with perfect precision. At the end, as she dies reconciled with...
...death that we still like to see him as a death-haunted, irrational loner, pitted by his - temperament against his times -- the first skeptic of art, the titanic ancestor of surrealism. "It is when Goya abandons himself to his capacity for fantasy that he is most admirable," wrote Theophile Gautier in 1842. "No one can equal him in making black clouds, filled with vampires and demons, rolling in the warm atmosphere of a stormy night." The effect of this has been to pluck Goya...
...connect with spectacular areas of Romantic fantasy -- the dungeon beneath the cloister, the Grand & Inquisitor's icy hand on the red-hot iron, and an obsession with trance, death and the link between faith and cruelty. This Zurbaran was more or less written into cultural existence by Theophile Gautier in 1840, on a visit to Seville...
...shallow Oriental exoticism. He reveals his anti-aesthetic bias against the French Romantics, toward whom his brilliant criticism is considerably less kind. He denounces their tendency toward "formal creation." The chapter, "An Extended Orient: Exoticism" criticizes at length the borrowing of imagery by the French as sheer indulgence. Gautier's Avatar is dismissed as the work of an exploitive dilettante with a "strikingly apparent gift for painting generalized pictures." Similarly, Hugo's Orientales is dismissed as "meager picturesque Orient imposed upon Montparnasse landscape...