Word: portrait
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Dates: during 1970-1979
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...months, Thorpe sat morosely in his straight-back chair, glancing only occasionally at his wife Marion and his mother, a few feet away. Many of the spectators at "case 782002" who knew the jaunty Jeremy of the recent past were reminded of nothing so much as a sapped, wizening portrait of Dorian Gray. Not without sympathy, one wigged barrister peered out the window at a throng of TV cameramen and photographers, who were dogging Thorpe's every entrance and exit. "Well, we're a sensationalist nation," he said, "but think of a poor blighter having to take...
...breakaway "Reform Baptists" to reach the West. Fourteen years ago, they formally seceded from the government-recognized All-Union Council of Evangelical Christians-Baptists in order to fight for more religious freedom than Moscow permits. In an interview with TIME'S John Kohan, Vins painted an extraordinary portrait of a beleaguered religious movement and of a life that in some ways recalls letters of the imprisoned Apostle Paul to the early church...
...local color, including what must be some of the least erotic whorehouse sequences ever recorded in an R-rated film. Unlike Novelist Theroux, Bogdanovich does not have a particularly keen descriptive eye; he goes for tourist snapshots instead of true grit. Except for Denholm Elliott, who offers a fastidious portrait of a typically down-and-out British colonial, the actors do little to help the proceedings. Gazzara is fairly blameless, given his flat role, but the miscasting of his con-man nemesis is a disaster. Had a strong actor played the villain, who recalls Harry Lime in The Third...
Devour the Snow is a profoundly moral play in the guise of a murder thriller. Polsky probes areas of guilt, self-deception, self-corruption and the agonizing question of "What price survival?" The cast is exemplary, and Jon De Vries as the tormented Keseberg sculptures a portrait of hell in ice. Toward the end, Polsky resorts to melodramatic devices that break the play's stark tension, but he is a welcome addition to the select company of playwriting naturals...
...Love at Twenty (1962), Stolen Kisses (1968) and Bed and Board (1972. Featuring Jean-Pierre Leaud, who has played Antoine Doinel in all five films, exquisitely depicts french life from the early sixties to the present day. Interweaving flashbacks from his pervious films. Truffaut presents the definitive and final portrait of Antoine in Love on the Run. Charming, irresponsible and utterly romantic, Doinel, the director's alter ego, makes love, writes, philosophizes, eats and drinks all with the same gallic enthusiasm. We know at the end that Antoine will remain forever the child who said "if I tell the truth...