Word: overacting
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Dates: during 1990-1999
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...some of the characters overact, it is only to serve the greater cause of the comedy. Libby Shani '02 is radiant as Rita Altabel--spirited and rebellious and thoroughly blunt. She has fun with a part that lets her talk at length about the various penises she has encountered and that requires her to say "I've tasted my menstrual blood!" on more than one occasion. Rita plays well off of her friend Samantha Stewart (Annalise Nelson '02), who wants nothing more than to be the woman behind the man she marries. Though she is characterized as the perfect wife...
...Thornton on the set of a cable movie, 1987's The Man Who Broke 1,000 Chains. "It was hot," he says, "and I had a conductor's uniform on with a collar up to here. My part wasn't going well because the director wanted me to overact. At lunch I was thinking how everyone else on the set was a real actor and I was a nobody. I started making faces at myself in the mirror and started talking in that voice. I looked so goofy, I just went, Eeeewegh. Then I came up with the monologue, with...
...steam from his ears. (Knight, the glowering genius who cut Charles Barkley from the '84 Olympic tryouts, is the coach whose Indiana University team is right up there in the all-important tantrums- endured statistical category.) But as cartoon figures like Knight cease to be visible, their need to overact will diminish. So will their salaries, as they cease to be celebrities, and chemistry departments across the nation will be able to afford new test tubes...
...creepy portrayal of the randy theater buff Philip Brown with confidence. Erin Scott and Miriam Carroll admirably fulfill the roles of faculty wife and daughter respectively. At times, John Didiuk overdoes the drunken retired professor, Orson Baldwin. But the rest of the cast refrains from the seductive temptation to overact...
...Benigni effusively confessing his sexual adventures (with a pumpkin, a sheep, a sister-in-law) to a shocked priest. And the glimpses of the cities, beautifully shot by Frederick Elmes (Blue Velvet), suggest there might be stories to complement the ghostly landscapes. But Jarmusch gooses his fine performers to overact in close-up, as if to compensate for the paucity of event. The result is something like the ultimate minimalist international co- production. All those places to go, and hardly an inviting cab in sight...