Word: reals
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Dates: during 1960-1969
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ALEXANDER AND THE WIND-UP MOUSE, by Leo Lionni (Pantheon; $3.95). A toybox parable for an automated age tells how a real mouse named Alexander yearns to be like his wind-up friend Willie-until he learns that children are fickle and mechanical toys grow obsolete...
Freshman coach Ken Klug, counting on a good fast break and control of the boards from his team, is optimistic about the game. He admits that the game will be a real test of his player's talent. "In fact," he said. "this game will probably be the ?? one we'll have all season...
...overly impressed with the victory. "It was not the challenge we expected." he said. "It was a lot of fun playing, but there were no great performances. You need two players to make a great match. We were more experienced all down the line, and there was never any real pressure...
...traced in the distance between Seastrom's and Griffith's drama. One notices it first in Gish's acting. Her hands, which in Griffith persistently fluttered toward face and breast, are held in more tightly or used actually to grasp people. Seastrom gives their pure emotional energy a real application: Gish's gestures, rather than only expressing her spirit. become actions with physical and specific ends...
...Lars Hansen (Arthur Dimmesdale) to and fro in an attempt to make him talk to her. Griffith would have depicted his decision by cutting to their two faces: Seastrom cuts to their feet walking along the country road. The physical aspect of the decision, the characters' actions in their real setting, takes over from Griffith's spiritual. abstract tendency. Yet Seastrom's acting style remains melodramatic. If anything Lars Hansen is cruder than Griffith's heroes: his gestures are slower and broader. Where Griffith would concentrate on the face. Seastrom gives us the whole body and thus avoids Griffith...