Search Details

Word: mimi (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

After all, it's because of UNH that you're going to the Garden (as opposed to, say, the Science Center to see "The Seduction of Mimi") tonight in the first place, so the least that you can do is show a little sympathy for a team whose total existence had been based upon an anticipated trip to Boston, and not another weekend in Durham...

Author: By Michael K. Savit, | Title: A Moment of Silence | 3/12/1976 | See Source »

...best traditions of show business, such controversy has only added a certain sinister luster to a reputation that has been growing wildly since the American release, in 1974, of Love and Anarchy. Earlier movies like The Seduction of Mimi and All Screwed Up found their way to theaters and attracted a tenacious following. It all may have to do with the brashness and ambition of Wertmuller's work, the interdependence of its energy and coarseness. Her movies stand in brazen contrast to the homogenized complacency of most Hollywood films. Seven Beauties has pulled down more than...

Author: /time Magazine | Title: Show Business: The Irresistible Force and the Immutable Object | 2/16/1976 | See Source »

Actor and director thrashed out the script for Seven Beauties just the way they worked on Love and Anarchy and The Seduction of Mimi: in stormy, all-night sessions joined by Wertmuller's husband, Artist-Sculptor Enrico...

Author: /time Magazine | Title: Show Business: The Irresistible Force and the Immutable Object | 2/16/1976 | See Source »

...directed under the name "George Brown." Two years later, Giannini starred in a Wertmuller play he had brought to Zeffirelli's attention. Zeffirelli staged it, Enrico Job did the sets and costumes. Wertmuller wound up married to the designer and working, again with Giannini, on The Seduction of Mimi...

Author: /time Magazine | Title: Show Business: The Irresistible Force and the Immutable Object | 2/16/1976 | See Source »

Giannini still studies his parts in the same dogged way he used to crack his engineering books. "Details, details, details," he laments. "Perfection. I go too far." For Mimi, he spent weeks in Sicily armed with tape recorders and cameras, studying local speech and mannerisms. "Once I've formed an idea of a character," Giannini reports, "I confront him from the outside. I start with the spinal cord, which is basic to his carriage, his entire nervous system. I must decide how he stands and carries himself in the world. Next, his arms-how does he reveal himself through...

Author: /time Magazine | Title: Show Business: The Irresistible Force and the Immutable Object | 2/16/1976 | See Source »

Previous | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89 | 90 | Next