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...less complex character to portray, but Lawrence Fishburne's performances is no less believable. His dual nature as wife beater taskmaster , and needy husband are clearly conveyed. The irony of their parallel fears--his fear of his wife's success and overarching name recognition and Tina's own trepidation that come with the increasing responsibilities--is cleverly evoked through the acting, the screenplay and the director's choreography of the dialogue...

Author: By Deborah E. Kopalad, | Title: 'What's Love Got to Do With It?' Needs No Hero | 4/21/1994 | See Source »

Meanwhile, Leach, deprived by the autocratic Gonzalez of one forum, avidly seized another. In a speech on the House floor on Thursday afternoon, he pursued two lines of accusations, delivered in a theatrical combination of harsh language and calm tone. One line was to portray Whitewater as a kind of sweetheart deal -- one to which "the Governor-in-the-making provided his name" while "the S&L owner ((McDougal)) and affiliated entities provided virtually all, perhaps all, the money." The company "may have begun as a legitimate real estate venture," Leach intoned, "but it came to be used to skim...

Author: /time Magazine | Title: Into the Line of Fire | 4/4/1994 | See Source »

Other modern revisions of Christ's death portray the Nazarene as a martyred revolutionary a la Che Guevara, but Brown says the details do not fit that scenario, and besides, Jewish insurrections only arose a generation later...

Author: /time Magazine | Title: Why Was Christ Crucified? | 4/4/1994 | See Source »

Take health care. The Clintons did not just offer their plan as a needed reform of an old and inefficient system. They had to portray the existing system as the workings of "price gouging, cost shifting" and "profiteering" bogeymen -- the greedy insurers, drug makers and doctors from whose malevolent grasp the Clintons and their bureaucrats would free...

Author: /time Magazine | Title: Why Whitewater Matters | 3/28/1994 | See Source »

...MacDowell seems to have evolved little since her days as a L'Oreal-model-turned-actress. While she is as stunning as ever, she remains trapped in the mold of a silent, sullen object of beauty. Her sophisticated sadness worked well in movies where she was only meant to portray a beautiful object, ("The Legend of Greystoke," "St. Elmo's Fire," The Object of Beauty"). In "Sex, Lies, and Videotape" she won acclaim for her portrayal of an emotionally repressed Southern housewife, but "Four Weddings and a Funeral," a light comedy, is an altogether differnt movie which demands a different...

Author: By Emilie L. Kao, | Title: 'Four Weddings' Is Not Worth Celebrating | 3/24/1994 | See Source »

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