Word: lopes
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...Writing in Nature, Robert T. Bakker of Harvard's Museum of Comparative Zoology argues that unlike other reptiles, dinosaurs were probably warm-blooded creatures, like most birds and mammals. He cites, among other arguments, anatomical evidence that some dinosaurs may have been able to lope across the countryside at speeds of up to 50 m.p.h. The necessary energy, he says, could not have been mustered by cold-blooded animals; their metabolic systems do not work fast enough. With only their hairless skin to protect them, the warm-blooded dinosaurs were highly vulnerable to sharp drops in temperature. And according...
Stanley Kramer came to Brandeis looking craggy and forceful in a jockish outfit. He is a medium-sized, bulky fellow, with a weather-worn face and an unselfconscious lope in his walk. Flanked by three natty Columbia pictures representatives, and ensconced in a withering basement office, he was there to answer questions posed by five film students, two theater profs, and two Crimson editors for "film people", as the youngest, denim-suited rep called...
...BACH Society orchestra can claim fame as the orchestra that brought you the "Concerto Scene" in Love Story. This weekend, though, there's a real concert, featuring two works for soprano performed by Pene lope Jense. Mrs. Jensen, a graduate of the Ed School, has not sung in this kar with the unmistakable Frenchness area since the Monteverdi Vespers of 1966. since the Monteverdi Vespers of 1966. since then, she has soloed with the Cleveland Orchestra under Sixteen Ehrling and the Atlanta Symphony under Robert Shaw; Saturday she performs the Bach "Wedding Cantata" and the rarely performed Quatre Poems Hindous...
Tristana is the ward of a graying voluptuary, Don Lope (Fernando Key). Lope is an aristocrat, an atheist and a hypocrite-three distinct personalities that Rey manages to portray simultaneously. As his money and his vigor recede, Don Lope pursues the bewildered girl and overtakes her. Once seduced, Tristana is a figure of metastasizing vengeance. When she becomes the mistress of a young artist (Franco Nero), Don Lope shouts in misery, "I prefer tragedy to ridicule . . ." The girl awards him both. Her flight with the artist is ended by a disease that costs her a leg. Convalescing in the house...
Much of Tristana's success lies in the director's scrupulous ambition. Once he was satisfied with the village atheism of Nazarin or the facile eroticism of Belle de Jour. In his 29th film, he is content with nothing less than the face of Spain. Don Lope's backchat with his comrades is an indelible vignette of the inhuman condition, where the aging pick the reputations of their fallen comrades, like buzzards wheeling over cadavers. In the background hover the symbolic figures of deaf-mutes, youths whose voices, like many Spaniards', cannot be heard. Yet Tristana...