Word: mask
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Dates: during 1960-1969
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Director Donen dissipates his cast's effectiveness by having everyone affect a tone of languorous boredom, presumably as a clue that Arabesque belongs in the realm of sophisticated comedy. To mask weaknesses and justify the movie's title, Donen puts his camera to a series of Olympian trials, filming at dizzying angles through, under, or into the reflections of sunglasses, grillwork, optical tools, windshields, mirrors, table tops, television screens and the chromium trim of a Rolls-Royce. The cinematic busywork offers sporadic fun, but also suggests the unsteady posture of a show that always seems about to fall...
...result of all this change is a growing impersonality in the practice of medicine that has created a breach in the traditional doctor-patient relationship. For patients, it is difficult to relate to a doctor who is only glimpsed behind a surgical mask. For doctors, a patient seen in the office, one of perhaps 30 patients in the course of the day, does not assume the same identity as a patient seen in a home. And the excitement inherent in current medical research makes many doctors more preoccupied with the disease than with the patient. Admits Dr. Martin Cherkasky, director...
Even newer are the shades that really shade: face-size visors reminiscent of the welder's mask or bookkeeper's eye-shield. They were launched 18 months ago by Coty Award-winning Milliner Halston, who was inspired by the green eyeshield worn by his elderly seamstress. Soon they were shown by other designers (Rudi Gernreich, André Courréges, Paco Rabanne), but they did not catch on until this year. Suddenly they are everywhere: at the five and ten for $1, at Manhattan's Bergdorf Goodman (home of Halston...
Gorky blurs bodies off from the flat, pastry-oval visages of The Artist and His Mother, a memory portrait that bridges from surrealism to the beginnings of abstract expressionism. Klee mimes a four-footed animal in his calligraphic Mask of Fear. Kuhn creates another kind of mask-that of the silent, sad clown-and makes it a vision of man turned into useless performer, while Albright excoriates the self in his wrinkly "And God Created Man in His Own Image." Unrelated by style or influence, each artist nonetheless portrays man in the early Depression years as a desperate creature searching...
...French fictional supercriminal, he is dedicated to evil rather than good deeds. Fantomas steals diamonds from Van Cleef & Arpels, hijacks a gambling casino, terrorizes Paris and kidnaps blondes, all the while disguised as several law-abiding characters by means of "the most perfect artificial skin." Beneath the masks lurks another mask, a bluish-grey rubbery face girdle that gives him the fiendish aspect of a dirty Mr. Clean...