Word: leer
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Dates: during 1960-1969
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...involved, as much by its understated acting as by its simple shooting style. Carol Dempster has come far from the frolics she and Lillian Gish gave Griffith's films of the earlier twenties. And Adolphe Menjou, as Satan, is the model of restraint. For him a grimace or devilish leer would be an unspeakable faux pas. But Griffith, far from leaving him a polished gentleman without depth of character, makes his slightest gestures personally significant. Menjou is eating dinner with Ricardo Cortez in the grandest of opulent restaurants. The conversation takes an odd tack. Menjou pivots his head slightly...
...once in awhile I think to myself, what am I doing here," must also sacrifice considerable domestic time ("I majored in marriage") for such chores as entertaining the wives of foreign visitors or chamber of commerce officials. Judy Agnew has two houseboys and a live-in housekeeper, Mrs. Ann Leer, who used to manage the Governor's mansion at Annapolis. But the Agnews do not entertain often at their own quarters, which can accommodate a party of only 20 or 25. For larger groups, they use the State Department reception rooms downtown...
...less intimidating than Nathan would have it. I came to Harvard in the autumn of 1967 (alas, also "expectant" and "receptive"), but as I remember it my first contact with another Harvard freshman took place in the third-floor showers of Hollis Hall. (Now, don't leer; that kind of stuff you swore off in prep school, right?) Anyway, I was simply waiting for a recalcitrant shower head to let go with some hot water when I met Jed. We quickly introduced ourselves-more in the way of initiating a conversation, rather than ascertaining who each other was, the generally...
...church and cloister are followed by wild orgies of the possessed nuns and a ludicrous exorcising ceremony in which the crazed sisters howl, shriek and twitch like wolverines in heat. Present in nearly every scene is a revulsive chorus of guttersnipes, beggars, epileptics and whores who leap and leer with a demonic joy reminiscent of Hieronymous Bosch...
...brush, his sponges and his rollers a zest and vigor, a freshness and exuberance that other geometricists lack. As he analyzes it, the impression derives from his own deeply felt delight in the act of painting and his evolving style. In human relationships, Noland will explain with an engaging leer, "you're involved with someone as long as something is developing, changing or insightful. Painting is the same...