Word: passione
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Dates: during 1980-1989
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...Nicholas Nickleby find to be pasteboard cliches of middle-class sentimentality: noble Nicholas, snow-white Kate, wounded faun Smike?and makes their stodgy virtues real and comprehensible. It renounces the fey modernism of camp; it takes a stand, grows tall in its righteousness, infuses the audience with its passion, brings Dickens back to life not as a carver of curios but as a man who, in George Orwell's phrase, "is generously angry...
...opera's plot is a domestic tragedy with universal implications. Katerina is the sexually frustrated wife of a rich provincial merchant, Zinovy, and the object of the thinly disguised passion of Boris, her lecherous father-in-law. Into her life comes Sergei, a handsome young worker. The pair become lovers, but Boris catches them in feverish embrace and publicly whips Sergei. Katerina coldly poisons Boris in revenge, and then she and Sergei compound the crime by strangling Zinovy. When the village drunk later stumbles across Zinovy's body, he alerts the police at the moment when Katerina...
...well-made, for he transforms the book-within-a-book into a film-within-a-film with a minimum of messiness. His screenplay respects the intent of the original novel, whose 20th-century structure of author's conceits and devices framed a haunting story of 19th-century romance and passion. By telling the Victorian story, then weaving a parallel story around the romance of the actors making the film. Pinter achieves something of the same sense. The 20th century doesn't just give perspective to the Victorian, but is commented on itself--an important, if implicit, dimension of Fowles...
...recent memory. "Every Grain of Sand" puts fate on a pedestal, and, while not worshipping it, at the very least affirms its primacy in the governance of our lives. Some will take this as an excuse for the singer's recent course. Yet how can we not respect the passion and conviction with which this haunting ballad is delivered...
Vitti and Branciaroli, two handsome and appealing actors, follow Antonioni's cue. There is little passion in their voices, even when the queen and Sebastian over come their initial distrust and become lovers to the death. No surprise here: Antonioni is the man who made aleatory music out of monotone in L'Avventura. But there is feeling aplenty conveyed through the vibrant orchestration of color. Each character is given his own "aura"-a kind of placenta of color that indicates his passion or humor. And every time the queen's mood changes, her surroundings change too, like...