Word: lended
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Dates: during 1960-1969
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...draw every scene toward her. But despite Zita's undoubted appeal to dreamy young girls, an interesting young star and a grand old pro are not enough to support yet another tremulous version of the girl-in-a-woman's-body theme. Director Robert Enrico tries to lend his slender scenario some contemporary relevance by forcibly inserting a variety of fashionable camera techniques and casting a Negro Maoist. Though his color photography begins effectively-notably in Zita's terror-glazed recollections of the Spanish Civil War-it ends by stifling the film in a glut of self...
...setting a new rock trend with their first release, entitled Freak Out. This is Album No. 4, and their musical anarchy of electronic sound, dialogue, parody, rock improvisation and jazz has developed into a vastly complex style unparalleled on the rock scene. It's not for dancing. Just lend...
...coverage did not evoke the flavor of the convention or impart any sense of urgency. And on the two balloting nights, of course, ABC had no choice but to go overtime. Still, the ABC experiment cut to the very nature of the TV medium. Unlike print, television does not lend itself readily to organizing, tabulating and editing. In trying to substitute these disciplines for TV's usually half-formed rush of life, ABC failed-but further experimentation may be instructive...
...would be the only acceptable art form. While Gabo and Pevsner fled to the West, Tatlin ended his days in Russia as an obscure drafts man and stage designer, experimenting with Leonardo-like flying machines. (The Soviet government apparently still thinks so little of him that it refused to lend any work to the Stockholm show.) But in retrospect, argues the Modern Museum's Pontus Hulten, "Tatlin is emerging ever more clearly as one of the few really great figures of 20th century art. His ideas mean more at present for many of the younger artists than Picasso...
...this production, the effort and matter-of-factness instilled in the love scenes lend to even-out the wildly different qualities tossed-about in the play (and Schmidt's notes concede this diffusion) in favor of repetitious and uninteresting mannerism. About the middle of the second act we begin to feel we've seen it all before in the first act. Troilus washing his face recalls the Trojan's first act entrance, actors who project physical characteristics early in the play keep projecting them and, as in the Loeb's Balcony, everyone is always clutching at one another...