Word: midi
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...midi-dress and the maxicoat, harem pants and bolero jackets-all are credited to Adolfo. His lace and or gandy blouses, gingham dirndl skirts and big-brimmed straw hats have turned teeny-boppers into minor Elvira Madigans. This spring it was the patchwork look-on full-length skirts and matching shawls-that put new life into quilting bees and earned for Adolfo a Coty Award. Last week he presented his fall collection: jeweled vests with fringe to the floor, blown-up fur berets and scarves, including everyday kerchiefs, monogrammed boas and a nine-foot muffler of patchwork mink...
This extraordinary incorporation of individual into collective motion propels the film forward. We are inevitably carried from the Revolution's beginnings in the Midi to the storming of Versailles, a span of several years and several hundred miles. That Renoir can make a film of this scope which scarcely slackens its pace, while sticking closely to the passions and actions of single men, proves (if proof were necessary) his genius...
CRITICS HAVE accurately called Toni a neo-realist film eleven years ahead of its time. In a decade of pictures made in studios, it as shot entirely on location in the Midi, using local inhabitants as well as professional actors. I feels completely true to the environment and lives of immigrant French peasants. As Richard Roud puts it, "Renoir's ambition was that the public should imagine that an invisible camera had filmed various phases of a Crime passionel without the human beings involved in the action having noticed...
...ascendant." One case in point is Adolfo, 35. Long exclusively a high-fashion milliner, he has lately added a line of interchangeable boutique clothes, which he sells to the likes of Gloria Vanderbilt Cooper, Jacqueline Kennedy and Mrs. William Paley. They take his "bits and pieces"-harem pants, long midi coats, shirts, vests and skirts-and combine them into what Adolfo calls "the anti-Establishment way of dressing for the Establishment...
DEBUSSY: LA MER, L'APRES-MIDI D'UN FAUNE, JEUX (CBS). Claude Debussy is the father of modern music, and Pierre Boulez is one of France's leading musical experimenters. To hear how Boulez handles these familiar works is to be reminded of how radical they are. "Debussy inaugurated a new and extremely personal type of sonorous universe, new in color as well as in mobility," says Boulez. By simply trusting the new sounds instead of trying to force them into old melodic patterns, he has made his own revolution in the interpretation of Debussy. An important...