Word: glows
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Dates: during 1970-1979
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Walker Evans' photographs speak of an uncompromising vision of America. His Coney Island photographs express a kind of perversity in our country perhaps best compared to the social commentary of Frank and Friedlander. Some of, the Friedlander photographs displayed show pictures of people on TV and the eerie glow they cast upon their surrounding environment. Humans are deliberately missing, yet they seem all the more present by their absence. Perhaps Frank's photographs represent the most powerful photographic view of America. The symbol of the American flag occurs repeatedly in his work; his photograph of the women and child...
Aside from the dull, in candescent glow of his Woolworth's lamp, Bobby's color T.V. was the only light in his living room. It sent a stupifying green-purple din into his soul, increasing his sense of urban isolation and loneliness. He couldn't find any women who would go out with him that evening, and his buddies were probably whooping it up in the backs of their pickups (or so he thought). But Bobby had his color T.V. and Ken Harrelson and Dick Stockton, and with Rick Burleson up against Ron Guidry, the count...
...fashioned appeal of Heaven Can Wait gives the film some of its glow. It is easy to imagine Beatty spending his boyhood watching double features at the neighborhood movie palace. That was not the case. Growing up in Richmond and later Arlington, Va., Beatty (then spelled with one t) was a bookworm. His father, a high school principal, taught him to read at the age of four. He had a formidable sister, Shirley MacLaine (MacLean is Mrs. Beaty's maiden name). Three years older than Warren, she was the tomboy. Today she feels that both children were greatly influenced...
...raced very intelligently," six-year veteran coach John Higginson said in the after-glow of a two-second, half-length win over Princeton on a picture-postcard Sunday morning...
...director, seems unable to coax any interesting colors out of a supporting cast of usually excellent players. His action sequences, strikes, and strong-arm stuff in the early days of the union are congealed. When he is not having Cinematographer Laszlo Kovacs bathe the hard times in the golden glow of false nostalgia, his moviemaking is without dynamics. Vague and distant, it offers a succession of clichés instead of a concrete sense of the class or the lives the film is pretending to examine. About all that can be said for "F.I.S.T." is that it does...