Word: portrayals
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Dates: during 1970-1979
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...like combative advertising that hits competing products head-on," she says. But she bridles at ads that she finds insulting to women, particularly those that portray the empty-headed sex bomb, the "dumbbelle" driver or the mindless housewife cooing ecstatically over the latest detergent or deodorant. "Women take pride in keeping house, but it is silly to have them gushing over a clean floor. An effective dishwasher ad should show a woman competently operating a machine." she says. As for some supposedly sexy ads: "Girls smiling seductively from bathtubs appeal to ad directors, not women customers." These ads, she argues...
...maintain Pinter's mix of terror and humor, so necessary for the initial attack on the "interpreters" in the audience. John Devany, as Max, shifts easily between the ranting, boastful, tough old man and the kindhearted, proud father whom Pinter has created, a difficult task when the character you portray seems to shift his personality for no reason. Hillary Waters' role, that of the enigmatic Ruth--whose motivations are even more hidden than Max's--is perhaps the toughest in the sense of pleasing the audience, just because her apparent lack of motivation is so exasperating. Yet, Miss Waters captures...
...severely limited, in part due to the huge amount of energy required to simply survive in a more or less hostile wilderness. In the creation of his house he expended little conscious effort for the sake of beauty, and there is no evidence that the mountaineer ever attempted to portray in pictures anything which affected his life. His artistic expression was saved for his music...
Rabbit Redux is a major achievement. Updike's sense of irony and his empathic power have enabled him to portray a broader range of American individuals than any other novelist--without condescension, and with some hope. The novel should be read--not only by an "Updike audience", but by the Rabbits and the Skeeters whose rages he expresses in passionate prose...
...further film musicals already under way, it seems she is fully embarked on a second career at the ripe age of 22. As the stage manager, she does not yet consistently manage the stage, except for some fancy tap dancing. She is most effective when she has to portray awkwardness, shyness, winsome young love. How much of this is performance and how much mere exploitation of her rather endearing presence? Twiggy would not be the first performer to build a movie career on presence alone...