Word: paines
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Dates: during 1960-1969
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...practical discovery of an art form, only the special optical effects were made artificially: actors did 90 per cent of their own stunts and those existing stuntmen were frequently killed. The many interviews that comprise two-thirds of the book share in common a true nostalgia for physical pain, for the ordeals involved in creating motion pictures honestly, unhampered by union restrictions, production supervision, and general professional laziness. Many statements, among them Nancy Carroll's memoir of shooting MGM's The Water Hole in the heart of Death Valley (the casualty rate approaching Stroheim's for Greed, the most famous...
...when the pain cuts through...
...part if the songs and dances possessed ethnic veracity and virility. As it is, the bouzouki music sounds as if it was piped in by Muzak, and the lyrics are insipid. The characteristic tone of Levantine lament is scarcely heard, since music that weeps and words soaked in pain might dismay the theater-party ladies. The dances have the look of old folk dances-any old folk. Greek fire is missing. Zorba danced because words could not contain his vaulting spirit. Bernardi clodhops, while the supporting cast dances by a timetable as if it were catching a train...
...PAINTING of a crucifixion Mirko uses a frigid yellow -- a moon yellow. With many black, downward curves to suggest mourners, and sharp linear arrows for Roman spears, pain and sickness hit a viewer immediately. Only then does he read the cross, the helmets or the realistic skull which Mirko makes the clue, the "bridge to reality." (Although sculpture is his main passion, Mirko does paint, draw and work in monotypes because each media has its own expressive quality. To investigate the "contemporary fourth dimension," like Picasso, Braque, and others before him, he painted musical instruments from many sides...
...first of the film's difficulties is that it seems to be twice removed from reality. Plimpton's sly, unobtrusive narration allowed the reader to feel for himself the manifold agonies of the professional athlete: the pain of learning how to merge head with helmet, the humiliation of fumbling a handoff, the confusion of trying to study a playbook crammed with inscrutable diagrams. The movie gives Alan Alda the doubly difficult task of playing the role of Plimpton the sophisticated writer who is playing the role of Plimpton the ten-thumbed quarterback. Alda looks enough like George...