Word: gazing
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Dates: during 1990-1999
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...spies that the right encouraged. Johns was a reserved, closeted gay, and a work like Target with Four Faces, 1955, is all about threat and concealment. Its impassive, identical plaster casts of faces are contained in a box with a hinged door, a "closet" above the ominous target. Your gaze, in looking at them, is assimilated to the eye of the inquisitor, hunting out what is concealed. It is a pessimistic and, above all, defensive image...
...that the ultimate truth of the universe is known only to those who think exactly as its members do. Its core beliefs seem to be comprised of a heavy dose of fundamentalist Christianity mixed with supply-side economics, and topped off by a paranoid hostility toward anything different. We gaze in collective wonderment as it recklessly attacks gays, women and anyone less conservative than itself...
...cancer, diabetes and heart disease, also deserve the serious attention of the government. However, with limited funds, any nation must take decisions about how best to spend them. The question of whether to spend sparse resources on AIDS research or an cancer research should not be decided with the gaze of homophobia and moral intolerance...
...young stars give the film its grim rapture. Eccleston's Jude is not crippled but strengthened by the burden of carrying a love for someone reluctant to accept it. When he's with Sue, his gaze speaks love so loudly she might have to cover her ears. Winslet is worthy of his and the camera's scrupulous adoration. Her teasing sneer of a smile makes her a very contemporary presence. So she's perfect for Sue, a modernist ahead of her time. Take Gwyneth Paltrow's elegance, mix in Drew Barrymore's naughty wiles, and you have a hint...
...Robert De Niro, Al Pacino--have developed an unfortunate taste for self-parody, Neeson has made his mark in Hollywood as a paragon of restrained intensity. In Ethan Frome, the 1993 movie version of Edith Wharton's novel, Neeson manages to convey a lifetime of thwarted longing in one gaze. In a Schindler scene that has Neeson's debonair businessman surveying the destruction of the Cracow ghetto, we see in the actor's perplexed expression something quite remarkable: a man's humanity slowly surfacing...