Word: hayden
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...Cornelius (Jon Finch), is rather skeptical about it all or, more properly, about the scientists and the girl. There is no doubt that the world is ending. There are riots, famine and martial law in Calcutta. Amsterdam has just been accidentally A-bombed into, as an American major (Sterling Hayden) puts it enthusiastically: "Twenty-eight square miles of white ash." The U.S. magnanimously offers to pay reparations to the five survivors, but settling of accounts is of secondary importance in such parlous, fissile times...
...cast, besides the commendably sardonic Finch, includes some always reliable character types (Griffith, Hayden, Graham Crowden, Patrick Magee, George Coulouris), and Miss Runacre, a skillful actress, who looks smashing into the bargain. The Last Days of Man on Earth, fractured and funny, is an authentic curiosity. Pace Woody Allen, it is a true sleeper, a movie both of substantial flaw and surprise. When one of the scientists announces with pride that the group has "the best brains in Eu rope working for us," and when it is shown just what he means, Allen would recognize a kindred anarchic spirit...
...alumni/ae of the Museum of Fine Art's contemporary gallery are showing in the area this week. Katharine Porter's grid-like paintings are at MIT's Hayden Gallery, through December 21, and her "Works on Paper" are at the (believe it or not) Harcus Krakow Rosen Sonnabend Gallery, 7, Newbury St., along with the photo-realist paintings of Joel Janowitz, through December 28. Porter's work is very exciting, Janowitz's much less so, although I'd prefer his stuff to any of the current contemporary painting at the MFA. Entitled "Trends in Contemporary Realist Painting", the exhibit...
Brassai's "Eye of Paris" and recent drawings and photographs by Natalie Alper continue at MIT's Hayden Gallery through...
Still, Brassai is not a parochial artist as the sixtytwo photographs on display in M.I.T.'s Hayden Gallery brilliantly prove. Brassai's works confront us as documents and as works of art. They present the appearance of a specific moment in history yet manage to escape a pernicious topicality. Brassai takes pictures that beckon us to return again and again, like his portrait of a peasant sleeping on a train, oblivious to the landscape whizzing by outside his window, his worn and grizzled head thrown back against the seat, his mouth a gaping black hole. Or his photograph of Kiki...