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...center of the ballet, the second act witnesses the highest levels of dance and the resolution of the fairy tale story. Prince Desire, danced superbly by Patrick Armand, hunts near the enchanted castle a hundred years after the casting of the spell. The rich costumes and haughty dance render this scene a true early Ralph Lauren moment. The Prince, dressed conspicuously in wedding white throughout the ballet, wanders off pensively self-absorbed. The Lilac Fairy greets him and shows him an apparition of the sleeping princess, and lo and behold, he falls in love. Heightening tension and passion between...
Assuming none of these teams loses any other Ivy League games, Brown can still control its destiny. Of course, the powerful Quakers could render all of this moot with a win Saturday. But the Bears can still dream...
Sucking the blood of all who cross him, Dr. Petiot changes his costume to meet the demands of the time. Whether Dr. Petiot or disguised as some other man by day, he is always a villain by night. The black cape, dark circles under the eyes, and devilish eyebrows render the doctor not so different from the vampire of the film's early moments. Scorning sleep, Dr. Petiot declares his preference for night and chaos, "What I like about this war...you're plunged into real darkness...
...clothes in shades of brown and burnt orange. Looking at her, you couldn't see any curves or angles, just fabric. Her blond hair was short, and she wore an earring in the shape of a woman symbol." I worry that you make this description so exaggerated as to render it ineffective. (Although I do love your discovery of what it was Sarah had to hide, and why she felt the need to shroud herself in feminism: "I learned that what Sarah hadn't talked about all those years was her parents' Fifth Avenue apartment, the house in Southampton...
...acting is a bit sketchy, its flaws pale in comparison with those of the camera work. What could Martin have been thinking? One despairs of him. His goal seems to have been to cause the viewer headache instead of render a harmonious picture of 19th-century society, for the camera darts about in a peripatetic ad nauseum of rapid-fire montage as if it were affixed to the neck of a hummingbird. Again and again, its strategy is to alight on one item after another--a glove, a calling card, a painting, a bauble--until it seems that Martin...