Word: inwardly
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Dates: during 1950-1959
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...orphanage near Paris, he finds a French boy, about seven years old, who may or may not be his son. The picture tells the story of the father's outward attempts to determine whether the boy is or is not his, and of the inward struggle he endures in the process. The experience matures him and frees him from the dead past...
...this week at Manhattan's Hickory House, where Pianist Marian McPartland and her trio toss their sizzling ideas back & forth on a raised platform in the center of a big oval bar. Thirty-five-year-old Marian, long, lean and suntanned, sits at the baby grand with an inward look in her eyes as her fingers ripple easily over the keyboard. Behind her are her solid sidemen, Bass Fiddler Bob Carter and Drummer Joe Morello, flicking out accompaniments. The result is some of the cleanest, most inventive "progressive" jazz to be heard anywhere...
...taken as a whole, the film is inferior to the book. For while Author Carson saw the sea as a poet might, with the inward eye, Director Irwin Allen sees it mostly through a very expensive anastigmatic lens. Though the movie is all about water, it strangely does not flow. The camera concentrates on episode after episode, like an observer stepping from tank to tank in an aquarium, not like a diver roaming through the stopless ocean...
Help from Velasquez. Success only drew Zurbaran inward. He never played in Seville's glittering art world, but withdrew with his wife to the country, painting furiously between moods of deep depression. Among his few friends was Spain's great court painter Velasquez. In later years, when commissions came more slowly, Zurbaran traveled to Madrid for help from Velasquez. The records show that Velasquez did his best, but Zurbaran painted less and less, became commonplace in some of his work. By the time he died in 1664 at the age of 65, Zurbaran was out of favor...
...certain amount of eyestrain appears almost inevitable" is the understatement of the week. In 2-D movies, eyes point at the screen and focus on the screen . . . 3-D techniques demand that the human turn his eyes inward, much nearer than the screen for which he is focused. Then he has a choice of letting the picture blur, seeing the object double, having nausea, dizziness or "eye-strain," or staying away from...