Word: rearview
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...kind of visual trumpet blast. Essentially the same compositional strategy, and the same dramatic clarity, are on view in a black-and-white photograph of an industrial wasteland by Roswell Angier: in the foreground, framed by a windshield and side-window, we see the blurred silhouette of a rearview mirror, a woman's blanketed back, a squinting Indian girl and a stop sign ornamented with a tinsel Christmas tree. In the background: a chainlike fence, grain silos, and cylinders of gasoline mounted on flatcars--all of this presented with illimitable, understated bitterness and a quality of throwaway grace...
After the dead and wounded were taken away in ambulances, police officers cordoned off the area. Left behind was the van, which still had a can of Mountain Dew on its dashboard and a red ribbon swinging from its rearview mirror. As the officers dispersed the onlookers, the faces of many of the people were streaked with tears and blood and some seemed to be in an ugly mood. Then the police and the citizens of Greensboro prepared for a weekend of tension and soul searching...
...patrol car appears in the driver's rearview mirror, and the flashing light goes on. The driver anxiously pulls over, and the policeman asks to see his license and registration. It is just a routine check; the driver has not been speeding or doing anything noticeably wrong. Then the officer glimpses the bag of marijuana...
...Sunday, Oct. 31, on NBC. TIME Contributor and Cinema Critic Richard Schickel has appropriately been cast as writer and coproducer of the show; he was LIFE'S cinema critic and resident film historian. Unlike some film anthologies, L.G.T.T.M. does not spend all its time gazing in a rearview mirror. "From the beginning," says Schickel, "we set out to accomplish much more than an exercise in nostalgia. Our aim was the same as LIFE'S-to reflect actuality as well as art, to show both the inner and the outer realities." That reflection is caught in every segment...
...being exploited, and kept flashing a curious dignity above the demeaning roles. But Welch was in on the cheat. Predatory, she'd wriggle up out of the water, reptilian and sleek, looking like she'd just been stamped out by a plastiglob toy set to jiggle from the rearview mirror. She seemed almost threatening, as though her super-tapered body slimmed down to huge hidden webbed fins at the extremities. In Musketeers she gets to exude a natural clumsiness--she steps into buckets and falls down stairs. The slapstick here works as it does for the rest of the film...