Word: noon
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...noon, the nightfall of that same day, Guard Jewell would be given he key to the city. The president would invite him to the White House. Every media outlet would hail him, as would leaders and people worldwide. He had saved the world...
...Dallas runway, in the lights of network cameras, while talking privately to Dole on a cell phone. Kemp vaulted into the headlines as Dole's vice presidential pick Friday morning when he started telling reporters he'd gladly serve, if asked: "Quarterbacks are always ready," he growled. By noon, CNN was reporting that high-level Dole sources had put the question to Kemp, as a prelude to the big phone call from the candidate. The drum-roll peaks Saturday at noon, when Dole and his new partner meet the press in Russell, Kansas. Could Kemp put Dole over...
Perhaps I should have realized that the lab was not the place for me at lunchtime on my first day of work. At precisely 12 noon, I joined the rest of the lab downstairs at the university cafeteria. To my horror I found only some oily substance resembling beef (which, at the time, I would not touch) and overcooked oily potatoes. I thought I was not being too demanding when I said all I wanted was a simple sandwich. Little did I know.... I ended up in a nearby bar with a very large, very oily tuna sandwich. I brought...
Like the cocky Americans it portrays, "Purple Noon," a recently re-released 1960 French thriller, succeeds because of its ability to disconcert. Disconcerting is the premise of the film itself, that French actors speaking French and dressed in French clothing can somehow seem American if given American-sounding names like "Tom," "Marg," and "Freddy." Disconcerting is Clemote's use of the Italian setting, on which noon-strength sun gnaws, leeching color from sails, crumbling villas and driving everyone pretty much mad. Most disconcerting, certainly, are the mesmerizing eyes of Alain Delon, who, as the poor but desperate Tom, is able...
...really, the end of the world is what "Purple Noon" brings to mind, a desperate era in which violent hatred and adoration amount to the same thing, where one person is interchangeable with any other, and most characters are, like Marg, the helpless victims of the machinations of stronger or more clever people. Yet "Purple Noon" never seems gloomy or disapproving of it's protagonists' mutual assured destruction. The potency of the film is undiluted by moralizing or even the sense that the story is being "told" from a certain point of view at all. The story of Philipe...