Word: pozzo
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...slain American couple, Rob Haubner, 48, and Susan Miller, 42, were considering early retirement from Intel Corp. and a life of exotic travel when they left for Uganda. They had been in Africa before. "There was no fear," says Eric Pozzo, a friend and former co-worker. "Just nothing but unbridled excitement." Grimacing at the reports of the machete killings, Pozzo says, "These are deaths that you'd not wish on your worst enemy." But in central Africa today enmity is as deep as the forests...
...feed his imagination. It only existed in Rome: the presence of the recent masters from whom he learned so ! much, like Caravaggio and Annibale Carracci, and the dead ones to whom he owed even more, like Titian and Raphael; the enlightened patronage of such connoisseurs as Cassiano del Pozzo or Cardinal Barberini, for whom he painted his supreme utterance about Roman political virtue, The Death of Germanicus, 1628. Above all, there were the traces of ancient Rome, a buried organism whose disarrayed bones protruded everywhere: columns, capitals, broken herms, arches, battle sarcophaguses, furnishing Poussin with a repertoire of prototypes...
...vagrants, Vladimir (Marc Jones) and Estragon (Dave Ardell), pass the time near a tree by the side of a country road, waiting for Godot. The reason for the appointment is never given. A passerby named Pozzo (Philip Munger) eventually strolls by with Lucky (Mark Fish), his slave. Later a boy enters to relay the message that Godot will come tomorrow, "Tomorrow" is the second act, but Godot never arrives...
Munger offers a passable performance as Pozzo, though he tends to slip in and out of an English accent from line to line. Munger also lapses into repetitive mannerisms that limit his character's depth. As Lucky, Fish offers a hilariously disturbing rendition of his character's famous speech in the first act. Jung A-Choi gives a monochromatic performance as Godot's messenger, adding little to the show...
...hours." But in his Roman youth, he could and did turn them out, and it would be idle to pretend that all early Poussin is on the same level. Some paintings are much less "finished" than others. A few are hackwork (such as Hannibal Crossing the Alps, done for Pozzo, who had a thing about elephants). And one painting from San Francisco's De Young Museum, The Adoration of the Golden Calf, does not survive comparison; it is clearly not by Poussin at all, though it shows how fanatically others imitated him. But the unevenness is part of Poussin...