Word: potemkine
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...Broadway CELEBRATION, by Tom Jones and Harvey Schmidt, the co-creators of The Fantasticks, is a charmer for sophisticates who have never quite forsaken the magic realm of childhood. Potemkin, a master of ceremonies winningly played by Keith Charles, presides over a land of enchantment peopled by a handsome blond Orphan, a crestfallen Angel, a bored and impotent Mr. Rich, and a group of Revelers. With a straight melodic line and the apt lyrics of the songs, the play is one of those good things that come in small packages...
CELEBRATION, by Tom Jones and Harvey Schmidt, the co-creators of The Fantasticks, is a charmer for sophisticates who have never quite forsaken the magic realm of childhood. Potemkin, a master of ceremonies winningly played by Keith Charles, presides over a land of enchantment peopled by a handsome blond Orphan, a crestfallen Angel, a bored and impotent Mr. Rich and a group of Revelers. With a straight melodic line and the unpretentiously apt lyrics of the songs, the play is one of those good things that come in small packages...
...glass eye of God, his personal token of hope in the essential goodness of things. He meets an Angel (crestfallen) with grave dark eyes. This lovely girl (Susan Watson) tells the Orphan that she is tired of being a Nobody and wants to be a Somebody. Together they meet Potemkin, a master of ceremonies and revelers, played with winning guile by Keith Charles. Potemkin tells the Orphan that he has read that God is dead, so survival has become his only creed...
...survive, they must all deal with Mr. Rich (Ted Thurston). Old Rich has the classic ailments of age and wealth: he is impotent and bored. On New Year's Eve, Potemkin arranges for a love scene to be played between the Orphan and the Angel with the hope of restoring Rich to youthful virility, after which the old man is supposed to get the girl. Naturally, it does not turn out that...
...knows the inevitability of his future and its consequences earlier than one would think from reading the texts. Welles' camerawork and lighting have never been more extraordinary, or less self-conscious; the spine-chilling battle must, along with the shower sequence in Psycho and the Odessa Steps sequence in Potemkin, be considered a supreme example of classical montage. Welles confounds one's normal sense of scene and over-all geography by employing sets and backgrounds more evocative than specific, more abstract than representative. John Gielgud, as the dying King, gives his best screen performance in this revolutionary film...