Word: leer
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Dates: during 1970-1979
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...feel about getting ogled in the street. My body used to go taut with suppressed fury, and now I bristle ironically--"that puffy red-faced one there with the beery swollen jowls and lecherous look is a cracker, don't even try to meet his leer because his head is so far away that he's going to play any response you make by his rules." I watch its progression in the fact that I have stopped going back to first causes when I put on eyeliner in the morning, or in the way that I have stopped reading...
Resonance and observation are what really matter here, not plot. Ozu excels at capturing the currents of tenderness and the differences caused by age and experience that flow, sometimes simultaneously, between parent and child. Watching the old man, slightly bleary with whisky, leer at the barmaid, his son says: "She doesn't look at all like mother." The old man smiles, a little sly, a little...
...three. When she was twelve, she appeared in her first movie, Rock, Rock, Rock, a cheapie made in Brooklyn to cash in on the rock-'n'-roll craze of the '50s. Whatever its demerits, the film projected Tuesday as the archetypal nymphet, Shirley Temple with a leer. "The girl I generally played was a little whorish teen-ager who would sleep with anybody, and yet has a childlike quality," says Tuesday...
...half brother Sydney had gone the rounds of London's forbidding schools for the destitute. Chaplin's great creation is a waif in the tradition of Pip and Oliver and David Copperfield. Like Dickens, Chaplin never forgot the wink of the pavement and the leer of the gutter. Also like Dickens, he was enchanted with radical politics -at a proper distance. In fact, despite his sponsorship of Soviet-American friendship meetings and loud avowal of Stalinist causes, Chaplin was the kind of political naif who would only fellow-travel in first class...
...gelled his fluids in a concept-ridden icebox: his effects misfire because they are backed neither by rigorously developed intellectual argument nor compassion. From the moment that the orange and blue credit backgrounds start to work on us, followed by that long dolly which grows from Malcolm McDowell's leer to encompass the entire terribly-clever Korova Milk bar set, we are begged to participate in a mere thrill show. A proud Kubrick tells his interviewers how people may come to identify with McDowell as they do with Crookback in Richard III. But both Shakespeare and the original Burgess novel...