Word: goodmans
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Dates: during 1990-1999
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...They are telling people what is going on places where it is forbidden to report the truth, they are covering stories that get you imprisoned," said Ellen H. Goodman '63, Boston Globe columnist and moderator for the discussion. The panel was sponsored by the Women and Public Policy Program...
...volatile team of medics in Bringing Out the Dead is often more battered and disturbed than the patients spewed from the streets are. John Goodman as Larry enters with his overweight working man's charm and bravado, and the audience is fooled into thinking this will be the routine buddy-cop movie with jolly, fat guy exchanging caustic one-liners with his thinner, but emotionally more substantive, partner. However, as the wheels spin out, the film takes the audience along for a more complex, hellish ride that visits death, madness, and despair on every street corner. Ving Rhames as Marcus...
Even when nothing is doing, something is doing, for Frank's driver partners are all loony in different ways. John Goodman's false reasonableness, Ving Rhames' born-again religiosity, Tom Sizemore's addiction to violence--nothing about any of them can help Frank. The film is full of casual dark humor, but what's best about it is its resistance to the conventional three-act movie structure. Its string of incident is relentless, virtually undifferentiated, like life, and contains no promise of uplifting resolution. Bringing Out the Dead is like its title--blunt, truthful, uncompromising. It is hard...
What makes all this so uncommon is that classic rockers--especially the prodigiously talented psychedelia-tinged guitar slingers of the '60s and '70s--are usually considered by radio to be as irrelevant to today's pop- and hip-hop-happy world as Benny Goodman was to the Woodstock generation. Santana's biggest smash, Abraxas, came in 1970. Radio now shuns most of the greats of Santana's glory days--the Who, the Allman Brothers, even Paul McCartney. Who cares if you're in the Rock and Roll Hall of Fame? It's ratings they want...
Contact consists of three spoken one-act dramas--Stroman calls them short stories--performed by dancer-actors and accompanied by a delectably eclectic jukebox of recordings by everybody from Benny Goodman and Stephane Grappelli to Robert Palmer and the Squirrel Nut Zippers. Nobody onstage sings a note. In Swinging, Fragonard's 1767 painting of an aristocratic young lady (Stephanie Michels) frolicking in a forest glade becomes a real-life menage a trois even kinkier than it looks. Did You Move?, set in an Italian restaurant in Queens circa 1954, is a bittersweet vignette about an unhappy housewife (Karen Ziemba...