Word: mitchums
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...exhibition of Seurat's drawings at the Museum of Modern Art, took two children there the next day to see a show by the sculptor Martin Puryear, attended the opening night of Wagner's Die Walkure at the Metropolitan Opera, caught a couple of movies, including an old Robert Mitchum vehicle at an Otto Preminger film festival, and scored tickets to the revival of Harold Pinter's The Homecoming on Broadway. (Long Pinteresque pause here.) On the seventh day I rested...
...ladylike was Kerr (pronounced "car")? Three times the New York Film Critics' Circle named her best actress prize, and two of those awards came for playing nuns, in Black Narcissus in 1947 and Heaven Knows, Mr. Allison a decade later. (The third was as the wife of sheepherder Robert Mitchum in the 1960 The Sundowners.) How congenial? In 1956 she was given a Hollywood bauble called the Golden Apple Award as Most Cooperative Actress...
...Often in a Kerr movie, love is unspoken, not acted on, as in Heaven Knows, Mr. Allison (again with Mitchum), whose plot sounds like the first line of a joke - did you hear the one about the Marine and the nun, stranded on a Pacific island? There's the spark of attraction too when she plays the English governess to Yul Brynner's Siamese monarch in The King and I. Shall they dance? Divinely. Consummate their affections? Unthinkable...
...Each Scarier Than the Other Although I agreed with Rchard Corliss's "10 All-Time Best Movie Villains" [May 7], I thought Robert Mitchum was even scarier in The Night of the Hunter than in Cape Fear, or maybe it was just that Shelley Winters was such a perfect victim. One of the best recent female villains was Polly Walker in HBO's series Rome. As Atia of the Julii, she is lovely, charming, sometimes even amusing, but always diabolically evil as she plots mischief, mayhem and revenge-and then flounces off to enjoy her latest male conquest. Rebecca Silverberg...
...Mitchum was an early exponent of the actor as outlaw, more interested in getting a role than being a role model. Brando sanctified that posture - the insolent slouch - which over the last half-century has been assumed by a hefty plurality of actors and musicians (mostly male, but there are exceptions). If a star doesn't crash his car, trash his hotel room or smash in a photographer's face, he's not being true to his art, you know what I mean...