Word: gorgeousity
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...presence of Yul Brynner, the King in both the play and the movie, only adds to the unfortunate sense of dejd vu. The viewer, no doubt like the star himself, keeps expecting his speeches to end in a song. Gorgeous sets, an even more gorgeous Anna (Samantha Eggar) and a brood of cute Oriental brats seem equally out of place in a show that is nothing more than the standard TV saga of the dumb daddy, the smart mamma and the smarter kids who walk over both of them...
Irving never really intended, he says, to keep the $750,000 that he extracted from his publishers. He and his collaborator Richard Suskind originally planned nothing more wicked than "a gorgeous literary caper." As the plot deepened, he saw it as "a venture into the unknown, a testing of myself." His wife Edith approved, he recalls, and so did his mistress Nina van Pallandt. "You're quite, quite mad," Nina said to Irving when he told her of the project in their Mexican hotel bedroom, "but the world is mad, so what's the bloody difference...
There are other weak links in Mills's tale, most notably Det. Butler. She is a gorgeous, ambitious and tough female cop who is just too surreal in her myriad attributes. Also, Mills employs an inter-Departmental report on the Lockley case as the vehicle for his story. He includes office memos, tapes interviews by the internal security office, and other "obtained" narratives such as a magazine article on Butler that never saw print. But despite his care in sticking to the format of a report, Mills slips into a trap posed by his own tight prose: no transcripts ever...
...Morrison, no matter what'll happen the rest of the way through, opens with a rocker. This is the sureshot; if I don't hear this on WRKO's top ten instantly, I'm going to want to know way. It has everything, scat sung opening, with handclapping, a gorgeous eight bar progression, mostly nonsense lyrics, two horns overdubbed to make four, more energy than 2:56 deserves, and the musical resurrection of the words, "let it all hang...
...both plays, William Larsen is capable as the weakest of the triumvirs, Lepidus, and his tippling aboard Pompey's ship is amusing. Lee Richardson's Enobarbus is strangely disengaged from its context, and his voice is not musical enough for what are some of the most gorgeous passages ever penned. Michael Levin's Pompey, Steve Karp's Menas. Joseph Maher's Agrippa, and Joseph Lambie's Eros are among those who need more vocal guidance. Peter Thompson scores points as the once-bitten-talee shy Messenger, and Rosalind Harris is properly sweet as Octavia...