Word: polisher
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Dates: during 1970-1979
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...trappings of conventional scifi, but it works as a kind of crack-brained adventure. Fuest, who made his reputation with a couple of fang-in-cheek vampire flicks, has a good time parading Hero Jon Finch about in black - a color scheme observed even in his nail polish and toothbrush but modified in his shirts, which are sparkling white and ruffled, like a lapsed romantic poet's. It is comforting to know, how ever, that when some heroics are required, Finch can rise to the occasion, or at least get himself up on one elbow...
...mean good soldiers or that noncoms can go to the same toilet as officers," says one Defense Ministry spokesman. On the other hand, some tradition-minded officers are a bit apologetic about the appearance of Dutch troops. "Sure, our military is a disgrace in uniform competition with the polish of other armies," says Commodore Ruud Hemmes. But, he adds, "our soldiers know their jobs, and they are motivated. In a war they will perform, and that's what you have an army...
...idol 20 years his senior. Now the worm has turned. Castleman is on the skids, sponging off Sonny while sneering at him as a "mechanical rabbit," a thespian technocrat devoid of true passion. To top it all, Castleman involves Sonny in a gang war between black hoodlums and a Polish mobster. But Sonny simply loves the old gaffer all the more...
...himself in other people's material. His props were inflections, pauses and reactions. In his mouth, "Well!" could express a thesaurus of repartee; a Benny "Yipe!" could wring laughter from a stone. Benny might have enjoyed a film career as durable as Bob Hope's. As the Polish ham in Ernst Lubitsch's wartime comedy, To Be or Not to Be, the comedian gave one of the screen's classic performances. Indeed, British Actor Alec McCowen, whose humorous timing derives from Benny's, called the old pro "one of the greatest comedic actors...
...accompany the troubled Boris, he had a somber, dry, psychologically adroit sound in mind that was infinitely more effective than the 60 or so strings and winds Rimsky thought sounded better. Mussorgsky used the harp only once -for the lush, quite beautiful scene between the Pretender Dimitri and the Polish princess Marina in Act II. It is a precise effect completely destroyed by Rimsky's use of the harp throughout the opera...