Word: laurentlis
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Dates: during 1960-1969
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...Hubert de Givenchy declared that that made her a member of the "working press," barred her from his showing. Lee stalked off to Ravello in a huff. "It couldn't matter less," said she. "I haven't been buying his clothes; I've been wearing St. Laurent's." She was not telling Givenchy anything...
...belted waist was in and so was the welt-seamed skirt that whirls like a skater's costume. Hemlines stayed put. The buyers' favorites were Givenchy's high bustline, soft-shouldered dresses and Balenciaga's short shrug jackets. A hemstitch away in popularity: Yves St. Laurent's "cowboy look" (sombreros, neckerchiefs), and Marc Bohan's Dior evening gowns that plunge front and back. Copies, adaptations and custom reproductions will be ready in U.S. shops this month...
...dolce vita: a pretentious prologue announces that "this picture symbolizes the widespread immoral conduct prevalent among our young, presenting its facts with brutal significance." What the moviegoer actually gets is a fitfully funny knockabout with an ancient theme, the falling-out of thieves. Three young punks (Jean Claude Brialy, Laurent Terzieff, Franco Interlenghi) flap-foot about Rome, trying to sell some stolen guns (their fence is busy with a funeral), trying to cheat some prostitutes (the girls cheat them), trying to betray one another, trying to impress someone (they don't impress anyone...
...David Laurent, baritone, sang with a dark, rich tone well suited to this unprtentious work, but Phyllis Curtin, soprano, marred an otherwise good performance with slides where unadorned, precise pitch is vital...
...militant chordal writing for the chorus contrasted with the complex polyphony of the soloists without jarring the work's virtually symphonic thematic unity. Phyllis Curtin, Mary MacKenzie, John Alexander and David Laurent made this continuity posible by weaving a texture that was never ragged and by providing excellent solos...