Word: mistresses
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Dates: during 1980-1989
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...primarily a representational art. Then Godard and his fellow iconoclasts suspended disbelief like a taut high wire across which his characters danced and ambled, and sometimes fell off. There are "people" in Every Man, including a TV producer named Paul Godard (Jacques Dutronc), his co-worker and ex-mistress Denise (Nathalie Baye), and her friend Isabelle (Isabelle Huppert), who works as a prostitute and has a short session with Paul. But they are not "real people." They are figures in the desolate landscape of Godard's mind. They have materialized to illustrate his deepest, bleakest conception...
Exactly 100 years ago, Sarah Bernhardt, legendary mistress of melodrama, arrived in America demanding to see the Indians. "She was very disappointed, but she fell in love with the country," says Actress Lilli Palmer, who is preparing to return to Broadway this winter, for the first time in a quarter-century, in the title role of Ruth Wolf's Sarah in America. "I hadn't opened a script for 26 years," says Palmer, now a successful novelist (The Red Raven), living in Switzerland. "I wanted a clean break after my divorce [from Actor Rex Harrison], and I thought...
...Morning Walk, is one of these: two peach-skinned 21-year-olds, dressed to the nines in their formal finery of velvet, taffeta, filmy silk and crisp ribbons, adored by the animal kingdom in the shape of a fluffy white dog (whose exuberant coat mimicks the finesse of his mistress's clothes), strolling in their idealized park. Its rhymes between nature and culture-particularly in the similarity between Gainsborough's handling of the wife's gauzes and of the foliage of the background trees -suggest an unforced series of transitions from the human to the vegetable realms...
When Craccio, the old man, goes out of town, Cristina, an attractive housemaid, brings two men to entertain her and her pretty mistress. The men, the town barber and apothecary, are comic oafs, and both women are relieved to hear another male voice from offstage. Enter the student from Salamanca, who has been beset by robbers and is looking for food and lodging-among other things. The husband unexpectedly returns, and the plot goes on its merry way to a happy ending...
...himself in a creative culdesac. The film mixes memory and fantasy with the surreal-life present. Its visual style is a gloss on 8½'s: seductive black-and-white images, express-train pacing, a foregrounding of comic bit players. The three main women in 8½ (a mistress, a wife, an earthy guardian angel) find their echoes here in Charlotte Rampling, Marie-Christine Barrault and Jessica Harper. Allen also appropriates Fellini's strategy of deflecting criticism by placing it in his film-in the mouths of buffoons. Predators and editors, gargoyles and groupies, all want a piece...