Word: rhythm
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Dates: during 1980-1989
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Writing in longhand does change one's style, Toad came to believe, a subtle change, of pace, of rhythm. Sentences in longhand seemed to take on some of the sinuosities of script. As he read his pages, Toad considered: The whole toad is captured here. L'ecriture, c'est l'homme (Handwriting is the man). Or: L'ecriture c'est le crapaud (Handwriting is the toad). What collectors pay for is the great writer's manuscript, the relic of his actual touch, like a saint's bone or lock of hair. What will we pay in future years...
...boppity bop-bop-bop-bop. Snugged up in his private plane, plugged into his Walkman, Pete St. John, media consultant to politicians, drums his cares away on the practice pad that accompanies him everywhere. Pete's life moves to this same rhythm: jazzy, snazzy, yet lacking in soul. If he had one it would be packed in a two-suiter with his scruples, in the lost-luggage office of some airport on a half-forgotten campaign trail...
...decided last year to follow in her mother's vocal tracks. The result has been nothing less than glorious. Her strong and silky voice has made her first album, Whitney Houston, a best seller for 46 weeks. Last week at the American Music Awards, Houston won for best rhythm-and-blues single (You Give Good Love) and best R.-and-B. video (Saving All My Love for You). Next month she is up for three Grammys. Not that the quick trip from the church choir in Newark to the top of the charts has fazed the cool beauty. "There...
FOOL FOR LOVE falters only in its pacing, which is perhaps too slow in starting, too quick in its resolution. The first half hour of the film has a staggered, disjointed rhythm to it, and the climax is perhaps too abrupt and suddenly tragic. Though Shepard's plays are notorious for their refusal to resolve themselves, what distinguishes him as our most audacious playwright translates less gracefully on the screen...
What the entire cast (including a slyly insinuating Klaus Maria Brandauer as Bror) helps to realize, what Pollack has captured in simple, forceful imagery and in the perfect pace of his editing, is something one dared not hope to find in this movie. It is Dinesen's remarkable rhythm. She never held a note too long. Africa had sung too many songs to her in a voice she knew was beginning to die. She had to get down on paper as many of them as she could, and do it without losing the haunting beat that had carried these sounds...