Word: neale
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Dates: during 1970-1979
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...company's resident choreographer Lorenzo Monreal is the exception, carrying off what choreographers Charles Neal, Saeko Ichinohe and Ze'eva Cohen attempt but fail. Monreal creates a highly-charged atmosphere in "Piosenki" which underlies his expressive end, unlike the other three who substitute the ambience of drama for its substance in "Yin and Yang," "Chidori" and "Goat Dance." Danced to throaty cabaret songs composed by Zygmunta Koniecznego, Monreal's duet has less specific associations than the other drama and succeeds in its allusiveness. Laura Young and Woytek Louski sweep through a succession of breath-arresting lifts, revealing the tenderness...
Sources also say that the Pudding's Man of the Year will be Ryan O'Neal...
...evokes 18th century Europe with a historians' eye for detail in his cinematographic version of William Makepeace Thackeray's novel. He succeeds in transporting the viewer to the aristocratic world of the 1760s and stuns us with his well-designed shots of landscapes. But Dinah, the acting! Ryan O'Neal proves three things: first, only one O'Neal can act and her name starts with a T; second, looking pretty is not reserved for leading ladies; and finally O'Neal couldn't act his way out of a paper bag. Ollie Barrett lives. Marisa Berenson has four lines...
...story of Barry Lyndon. The reviewers will tell you O'Neal is a rogueish Lyndon. He seemed to me to be the type of guy who gets hit by the Second Avenue Subway while trying to rape a Tactical Force policeman in drag. Kubrick also ignores a potentially exciting view of the 1760s--the Hogarthian underside of English society. All told, the carefully composed landscapes and Kubrick's use of a new German lens to film in candlelight just save this film from being potboiler par excellance. That Kubrick's visuals can overcome such poor acting is a credit...
...FIRST AND WORST is Ryan O'Neal himself. Kubrick has never made so gross or so unnecessary a casting error. There are plenty of handsome actors around, and almost any of them could have been less of a gobbler in this part. While everyone else is speaking in Irish brogue or the King's English, O'Neal sounds like a smooth-voiced Jack Nicholson out of Doonesbury. "How could you do this to me, Nora?" he asks in a deadpan American voice that could have come straight out of Gidget Goes Loco. O'Neal's Barry has no charm...