Word: limpidity
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Proclaiming that U.S. males should stop "staring at women's bodies and start looking at their faces again," the Caricaturists Society of America announced the results of a poll of its own members to determine "the perfect female face." Resulting composite: the "violet, limpid" eyes of Elizabeth Taylor; the forehead, "white, smooth and pure," of Kim Novak; the "cute, slightly turned-up" nose of Songstress Teresa Brewer; the "ripe, sultry and suggestive" mouth of Anita Ekberg; the "silky and soft" hair of Sophia Loren; the "firm, yet round and petite" chin of Natalie Wood; the "slender, yet strong" neck...
...customer's time and pretty nearly $3,000,000 of the producer's money, is written to the thesis that Audrey Hepburn is really just a dud who can happen to wear duds. It's a hard one to prove. Actress Hepburn not only looks her limpid best from first to last; she also does some snazzy dancing (she is better solo than with Astaire), and even sings effectively in a sort of absinthetic Sprechstimme with a touch of wood alcohol in the low notes...
Joan Bennett plays the leading lady with a brassy verve that is matched by Donald Cook as her husband. Romney Brent plays Miss Bennett's collaborator with a limpid little-boy charm. Edith Meiser carries a spinster character role with enough energy to compensate for the poor lines she was given, and Jerome Cowan plays an amorous Internal Revenue agent. The play is held together by a succession of hilarious stage business, a routine with Mr. Cook drinking coffee, and other bits which are marvelously performed...
Mozart: Requiem (the New York Philharmonic-Symphony, Westminster Choir, conducted by Bruno Walter on a Columbia LP; Vienna Symphony and State Opera Chorus conducted by Eugen Jochum on Decca; Vienna State Opera Orchestra and Academy Chamber Choir conducted by Hermann Scherchen on London Ducretet-Thomson). The limpid choruses of Mozart's last work have always resisted the efforts of record makers, and are still a bit troublesome on these three latest versions. Conductor Walter's has a certain dramatic excitement but also a rather thick tone; Scherchen's (in the same performance recorded two years...
...Something very French, something subtly exciting to watch. And the excitement is made more exquisite by the sensitive way the director resolves music and color (nobody could guess that he is working with color for the first time), actor and setting, sophisticated laughter and simple sadness in a limpid mood that lies somewhere between innocence and experience, heartache and heartache. It is the mood that is created by many Renaissance love songs, and René Clair sings it as sweetly as Ronsard...