Word: loved
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Dates: during 1970-1979
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...Rostropovich, confesses that he would just as soon not do it again in quite the same fashion. "Slava takes enormous freedoms," says Bernstein. "He does things that one would think would simply destroy the form of the piece. But he makes it work because of the tremendous conviction and love that come over with it. The excesses and exaggerations that he applies have shocked lots of people, but with him they are fantastic." Yehudi Menuhin finds nothing surprising in such an approach. "Rubato is part of Slava's way of being," he explains. "He doesn't have to follow...
...career is rising and hers is fading; after all, Rostropovich was largely responsible for destroying her position at the Bolshoi. While Galina supported her husband's defense of Solzhenitsyn, she feels that Slava's friends sometimes take advantage of him. "He is a man who must be handled with love, yes, but also with brain," she says emphatically. "In music his intuition is never false, but in human relationships he is very often mistaken because he wants to love everybody and not everybody loves...
Indeed Tony's coital bouts with the heroine provide Looking for Mr. Goodbar with its few insightful scenes. When this couple make violent love, we can begin to understand the complex erotic passions that draw Theresa to her self-destructive double life. The rest of the film's brutality-its harsh language, its vicious climactic murder scene-are merely heavyhanded manifestations of Brooks' moral-mongering. The audience, not to mention Diane Keaton and Judith Rossner, deserve greater rewards in exchange for the punishment. - Frank Rich
...were coupled ever after the very first in 1940, The Road to Singapore. Bing and Bob were frequently engaged onstage in a gibing dialogue that was itself like the soft shoe they also did together-once while singing, hands joined, Mairzy Doats. "People will think we're in love," Crosby sang to a throng of troops during World War II-and worked in the line, "Don't laugh at Hope's jokes so much." Out popped Hope, barbing: "Keep crooning, Bing, you make a great target...
Crosby's biggest critical success was Country Girl, but his personal favorite among his movies was High Society (1956). It found him singing and dancing with Frank Sinatra at an "elegant swellegant" party and playing a concertina and crooning True Love, as only the first crooner could croon, to not-yet-royal Grace Kelly. Unlike many stars, Crosby surrounded himself with other big talents. He worked with Fred Astaire in Holiday Inn (in which he sang White Christmas), with Ethel Barrymore in Just for You and with Ingrid Bergman in Bells of St. Mary...