Word: restlessness
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...Anne Klein, Karan worked with her co-designer, Louis dell'Olio, to protect the legacy of the label while moving the business forward. In 1983 they launched Anne Klein II, a successful line of clothes for working women. But, ever restless, Karan was eager to assert her creative identity. Executives at Takiyho, the Japanese conglomerate that owned a majority stake in Anne Klein, urged her to start her own label, but she was uncertain. So in 1984 Takiyho fired her, simultaneously agreeing to back her new company...
...risen from the ashes of its bankruptcy to release a few good movies. The first is LOVE FIELD, a slim but affecting drama named for the Dallas airport where John F. Kennedy's plane landed on Nov. 22, 1963. Michelle Pfeiffer, glitzed up and dumbed down, is a restless housewife who vows to attend the President's funeral in Washington; Dennis Haysbert is the mysterious black man she tries to befriend. Director Jonathan Kaplan (The Accused, Heart Like a Wheel) has the gifts of finding verve and ambiguity in TV-movie subjects and drawing beautiful interpretations from his lead actresses...
Everyone knows that Dracula has a heart; Coppola knows that it is more than an organ to drive a stake into. To the director, the count is a restless spirit who has been condemned for too many years to interment in cruddy movies. This luscious film restores the creature's nobility and gives him peace...
...Quentin Tarantino's Reservoir Dogs: gangsters pull a heist, then engage in a long therapy session of bitchery and carnage. Tom Kalin's Swoon: those gay cutups of the '20s, Leopold and Loeb, are back, artier and hornier than ever. Stacy Cochran's My New Gun: doctor gives his restless wife a handgun; audience waits for it to go off. Add two other, more seasoned directors of outlaw movies -- Abel Ferrara (Bad Lieutenant) and Hal Hartley (Simple Men) -- and you have a tough new movie generation. If they'd all gone to film school, their yearbook portraits would...
...Huntington's production is not unconvincing, but director Gilbert's failure to very the onstage mood makes for three hours of restless seat-sliding. Perhaps a more traditional interpretation would have been more successful than the Huntington's, whose only connection with O'Neill is the occasional blast of the fog horn that reminds the audience of the setting...