Word: lushing
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Dates: during 1980-1989
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WHAT TESS needs is an introduction by Alistair Cooke. He'd lend Roman Polanski's lush adaption of Thomas Hardy's Tess of the D'Urbervilles an appropriately ceremonious mood, sitting in his studio library, staring down his Coriolanian proboscis and solemnly intoning "Fate deals the cards with the deck stacked against you...and you must play out your hand. Fate moves you like a pawn across the chessboard of life. Fate..." In Polanski's hands, Hardy's tragedy is like an extravagantly produced episode of Masterpiece Theater, the sauntering tale of a country lass victimized by forces beyond...
...last week at Manhattan's Lincoln Center drew an uncommonly long, lusty ovation from the hard-to-please City Ballet crowd. The applause underscored both Martins' arrival as a choreographer to watch very carefully and a happy addition to the City Ballet's glittering, almost sinfully lush repertory...
WIEGUES NEVER STRAYS from the visceral tingle of the provocative landscape and the physical existences of the characters. The rich, hot colors of Brazil--lush greens, electric blue seas, lurid sunsets--seem charged with surreal power; even the pastels seem energized, and the slums are unfailingly photogenic in their squalor. The enchanting promiscuity of the landscape, the vagabond itinerancy, and the no-sweat amorality of the characters keep the narrative amiably in motion, unburdened by overt lecturing or tedious symbols. The native Cico, who might have been pressed into the boring documentary role of "yokel-from-the-primitive-hinterlands...
...Japan, kosai-hi is the rule. Top executives are expected to spend up to three or four nights a week entertaining-eating in posh restaurants or golfing on lush greens. When a Japanese company launches a new product, its executives entertain prospective buyers to help them reach a consensus fast. Says Ryutaro Nohmura, a leading tentmaker: "Kosai-hi is nothing less than the lubricant for our enormous business machine, the very source of our economic vitality...
...pall of black. But her instinct for placement, for what shapes to repeat and where to repeat them, and how to break their sequence into daring asymmetries and unexpected detachments of rhythm, was carried out with an unfailing formal sense. This disciplined what might otherwise have been a too lush spread of metaphorical associations-with Russian altar screens, icon covers (for there is something numinous, if not exactly religious, about Nevelson's imagination), tombs and reliquaries...