Word: lushly
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Dates: during 1970-1979
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...never made before-and proceeded to make them. "Music appeals to me for what can be done with it," Leopold Stokowski once remarked. By that he meant that he knew better than Beethoven or Brahms how instruments should sound, and that Johann Sebastian Bach surely would have loved his lush orchestral transcriptions of the Toccata and Fugue in D minor. For such arrogance-and for the skill with which he argued his claims-Stokowski earned the adulation of audiences, the grudging admiration of most critics, the constant hostility of musical purists...
Cries and Whispers. By direct contrast with the starkness of his Persona-period films, this is easily the most visually lush Bergman movie I have seen. But the rich colors and textures of the large Victorian house that serve as the setting of the drama only accent all the more disturbing. Bergman's story of the psychological dynamics between a woman dying of cancer and the two sisters that look after her in her final weeks. The flashback sequences in this film are some of the most cruel and haunting that Bergman has ever realized...
...view of film executives, America's heartland is "virgin territory" on the screen, unknown even to many Americans-not to mention foreign movie buffs. It also offers the stark authenticity that many current movies demand: steel mills, gritty factory towns, ghettos black and ethnic, as well as the lush estates of the better-heeled...
Vast in scale (though not always in size), lush and rigorous in color, his cutouts are among the most admired and influential works of Matisse's entire career. They belong with the grandest affirmations of the élan vital in Western art. Dr. Johnson once remarked that the prospect of being hanged wonderfully concentrates the mind. In 1941, when he was 71, Matisse nearly died of an intestinal blockage and was bedridden for much of his remaining time. But he felt reborn, and the cut-outs would serve as most eloquent witnesses...
What a difference color can make. In this lush, slightly feverish Italian drama, the color photography is not merely the medium, it is a potent metaphor. In scene after scene, Cinematographer Ennio Guarnier frames the setting-turn-of-the-century Bologna and Venice-in rich, painterly soft focus, but his colors are so intense that they almost seem to burn the film. Similarly, the leading characters-an eminent if controversial scientist and socialist, his beautiful daughter who is suffocating in a bourgeois marriage, his erratic lawyer-son who is so devoted to his trapped sister that he would kill...