Word: presenters
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Dates: during 1960-1969
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Marker is especially careful not to integrate Koumiko and the city whenever the two come in direct contact. Koumiko is isolated when she is walking, behind a train window when she looks at the countryside, or present on the soundtrack but absent from the screen. In one sequence, we see Koumiko walking down a street next to a man whose face is obscured by a mirror he is carrying. Koumiko herself is not reflected in the mirror. She repeatedly looks to her right, then turns her head to see the same view in the mirror. As she does...
...ordinary, unexceptional people, essentially failures. Yet they are not carbon copies of each other--except in bad productions. Director Kahn and his players have managed to assure that every single one of these average people is unique, is an individual, is a three-dimensional character, with a past, a present, and--this is important--a future. Chekhov envisions a happier future for later, generations, and underlines the necessity of hard work and hope. The play has a moderately upbeat ending -- though many don't seem to realize it. The Three Sisters is not a tragedy (a label Chekhov never used...
Morris Carnovsky gets full mileage out of the aging army doctor Chebutykin, who lives Irina as he had loved her mother. Carnovsky provides a masterly depiction of a gradually deteriorating personality. He has never read a book, and occupies himself with little that is more lofty than his ever-present daily newspaper (in real Russian, too). He must have been a pretty inferior physician at the outset, and in the course of the play he sinks to the belief that absolutely nothing matters anymore. So far gone is Carnovsky's doctor that, after washing and drying his hand...
...brink of the twenty-first century amid its assorted, but not at all surprising, cataclysms. As Martha passes through each successive decade (the late fourties and an attempted return to normalcy; the espionage and red-baiting of the fifties; the calculated idiosyncracies and extravagant violence of the present), Martha's progress becomes more and more analogous to that of a snake as she outgrows and stoically must shed restrictive skins of convictions and illusions. Hers is a progress of discarding belief. And since the direction of Martha's growth is never really voluntary, it is not a "quest...
...American business, working and playing to build a strong, free Western Hemisphere. The whole gang's on hand: Coke, Ford, General Motors, Shell, Texaco, Esso, Frank Sinatra, even Helena Rubinstein with American beauty standards. But the spoken narration puts this post-card Brazil into perspective, reciting figures on the present-day poverty of the Brazilian people, on the history of foreign profiteering. The Old and the New are but emblems of successive ruling classes, the monuments they built to themselves and their success, leering gargoyles that mock the masses...