Word: gibsonized
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Angell's grace carries over into in-depth pieces on specific aspects of the national tradition--a thorough examination of the art of hitting, a lengthy profile on retired great Bob Gibson. Sometimes these ramble excessively, damaged by extensive use of the first person and long, unbroken quotes. Usually, however, they provide lively, informative insights on one of infinite facets of the sport...
...William Gibson...
...play premiering at the Spoleto Festival U.S.A. in Charleston, S.C., has successfully made the transfer to Broadway. This one will. In Monday After the Miracle, William Gibson takes up the saga of Helen Keller and her teacher, Anne Sullivan, some 20 years after the events recorded in The Miracle Worker. In that play, Sullivan led the deaf and blind Keller in a long night's journey into light. The sequel is quite different. This is a tale of fiercely kindled passions and the bittersweet bondage of entwined destinies...
...Helen is a mountain brook washing over shining pebbles of self-discovery with a child's delight and limpid innocence. As for Converse-Roberts' John, he is a kind of D'Artagnan, fencing for his life, shielding his love against his love. Among them, Playwright Gibson, Director Arthur Penn and the entire cast ignite one of those blazing bonfires that keep serious dramatic theater inextinguishable...
When our anti-hero appeared in Mad Max, he was an amoral vigilante with baby fat. Since then, Gallipoli has made Gibson an international star: he is more mature and authoritative; his moon face is cratered with character. In 1979, when Mad Max was released, George Miller was a 34-year-old M.D. who had edited his first feature on a kitchen table. Max surprised with its cinematic canniness, but Warrior astounds as a sequel superior in every respect. Miller suggests violence; he does not exploit it. He throws the viewer off-balance by mixing the ricochet rhythms...