Word: maxed
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
PINTER is a master of the language, no doubt about it. His lines operate on many levels-the one which the actors understand, the one the audience understands, and the one that only Pinter himself understands. When Max, the aged, mad and offensive old man in The Homecoming, berates his oldest son for bringing his wife into the house, saying, "I've never had a whore under this roof before, ever since your mother died," only Pinter knows how right...
...Homecoming is a brutal play. Pinter forces you to laugh at a group of people who are so miserable, so maladjusted, so sick, that they are grotesquely funny, Max, the retired butcher, is an ugly old lecher who retaliates for the abuse heaped on him by his wealthy pimp of a son by browbeating his wimpy brother, a sixty-three-year-old chauffeur. Into the mixture comes Teddy, Max's oldest son, a professor at an American university, who seems at first to be the only normal member of the family. But Teddy lets his wife go whoring with both...
...keep it alive, to perpetuate the tension necessary to make it survive. The Harvard Dramatic Club's production starts at a low key, failing to generate enough tension for the first ten minutes or so, but gradually works its way up to a brilliant intensity. Michael Smith as Max comes on weak, as if feeling out the terrain, but grows into his part after a while, gradually beginning to talk to his son instead of to the audience. Likewise, John Gilpin, as the son, Lenny, warms up slowly, but finally works into character...
...from Joseph Cornell to Robert Rauschenberg, is in some degree indebted to him. His concept of the "all-enveloping" work of art that could draw on a whole range of media, from paint and sculpture to architecture, sound and print, hovers behind all recent experiments in mixed media. Like Max Ernst, Schwitters is the "classical" Dadaist who destroyed nothing and became instead a kind of stylistic oracle. There have been a number of Schwitters retrospectives to cement the fame Schwitters himself never lived to enjoy. The latest, perhaps the definitive one, is now on view at the Kunsthalle...
...cuter killer exists than Salem (Max von Sydow), doomed to spend his life in a lunatic asylum. Framed for a homicide he did not commit, Salem becomes as vengeful as Dracula. Alone, he contrives to exit his maximum-security cell clothed only in socks, shoes, T shirt and briefs-in the dead of winter. With unrefined malice, he dispatches the framers, among them his sister (Liv Ullman), his mistress and a lawyer. Some are garroted, others drugged or axed to death. Then Salem undoes his escape, hustles back through the snow, ascends a stone wall just slightly less perilous than...