Word: plot
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Dates: during 1990-1999
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...mask with a sensitivity that few artists have rivaled since. Sometimes he would seem to have done this by guesswork. His 1633 portrait of Henry Percy, "the Wizard Earl" who spent 16 years of his life immured in the Tower of London for his supposed complicity in the Gunpowder Plot, is an icon of saturnine intellect, from the same introspective domain as Robert Burton's The Anatomy of Melancholy. But Van Dyck probably never met Percy, who died in 1632; he was working from a younger portrait by someone else...
...that arc of Ned's memory is essentially the plot of The Secret Pilgrim. The novel has no grand, tantalizing design; the individual adventures that Ned remembers are chiefly connected by the fact that he took some part in them. Readers familiar with Le Carre's multi-volume fictional saga of postwar British intelligence will see in Ned's recollections a series of outtakes from a story that has already been told...
Alksnis is a leader of Soyuz, as is a fellow colonel named Nikolai Petrushenko; Shevardnadze contemptuously described the pair last week as "boys . . . with colonels' shoulder stripes" (both are in their 40s; Shevardnadze is 62). They have talked wildly of such things as an alleged CIA plot to unite national-front movements from the Black to the Baltic Seas into a single anti-Soviet confederation. Soyuz claimed credit for Gorbachev's sacking of the country's liberal Interior Minister last month, and brazenly announced that the Foreign Minister was next on its hit list...
...Fair in Love and Show Biz Andrew Lloyd Webber brought Aspects of Love to Broadway in more ways than one. Critics found the hit musical's score overwrought and the plot unlikely. In real life, the composer highlighted one of love's least admirable aspects when he announced a separation from wife Sarah Brightman and helpfully included the name of his mistress in the press release...
...omission is both fatal and curious, for in some respects the film conscientiously compressed its source. Its plot has been faithfully rendered by screenwriter Michael Cristofer, and director Brian De Palma has succeeded in the more difficult task of finding a cinematic equivalent for the novelist's singular style. Using unconventional angles, lenses and light, he accomplishes on the screen what Wolfe achieved on the page through deliciously exaggerated dialogue and deadpan parody. De Palma lifts us out of banal realism but stops short of forcing surrealism's affectations upon...