Word: gorgeousity
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...gorgeous Sunday in June, Simon Geller slouches in an easy chair in his darkened apartment, with the windows closed and a chuck steak in the oven, listening to himself on the radio. At the moment, he is broadcasting the ballet Sylvia, by Leo Delibes, on the station he periodically identifies as "WVCA, 104.9 megahertz, in Gloucester, Massachusetts...
Perhaps the French are better at family affairs. Trintignant's wife Nadine makes a decent domestic comedy-weepie called Next Summer; Trintignant appears in the film, as do their beyond-gorgeous daughter Marie and Nadine's brother Christian Marquand. They all provide support for Philippe Noiret, as the aging philanderer at the film's heart. While Noiret's exquisite wife (Claudia Cardinale) is giving birth to their sixth child, he luxuriates in the ardor of his latest bimbette. What his wife sees as playing around, he sees as just playing -- and how natural for this overgrown bear of a little...
...Orange Riviera's basic appeal is still its natural assets: gorgeous beaches, wooded hills, balmy climate. Real Estate Investor Leo Gugasian hardly needs to explain his fondness for the area: his office is aboard his three- bedroom yacht. Says he: "The salt air and relaxed pace make me think better." Another amenity: a lower rate of serious crime, 37% below Los Angeles' last year...
Perfect. Perfect has always been the problem. By today's movie conventions, Weaver, 36, is too gorgeous to be ordinary, too smart to be sexy, too sensible to be interesting. Hollywood lusts for the diseased oyster these days, not the pearl. And so, while notching a worthy stage career on Broadway (Hurlyburly) and in regional theater, Weaver has been placed in the cluttered corners of raucous comedies starring Saturday Night Live alumni (Ghostbusters, Deal of the Century) or at the cores of enigmatic dramas (Eyewitness, The Year of Living Dangerously). She is Dom Perignon in a town built to sell...
...eerie, gorgeous twilight between empire and dissolution, the city's ; radical young artists and architects broke from the local academy, named themselves Secessionists and established their own countersalon in 1897. They called their journal Ver Sacrum (Sacred Spring) and practiced, as a matter of principle, a manic cross-fertilization. With Klimt, art became overtly decorative, gold-inlaid portraits masquerading as rich bijoux; with Hoffmann and his Wiener Werkstatte collaborator Koloman Moser, bowls and chairs aspired to art. It was a feverish, unresolved time, and the Viennese fin-de-siecle impulse was to savor the exquisitely confused cultural moment...