Word: roberto
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...once had." Seymour Mandel of Chicago is positive: "This is the same guy who hit me up for some spare change downtown last week." Roberta Jaeger of St. Simons Island, Georgia, comments, "He's the spitting image of a fine man who once worked as my cook in Indonesia." Roberto Llamas of Miami thinks the nicked face bears witness to a certain ageless klutziness: "Homo erectus may have been the first creature to use shaving tools unsuccessfully. Homo sapiens, as we find out every morning, is still struggling with shaving paraphernalia 2 million years later." And Scott Hunter McCleary...
Ekerot, swathed in black robes, his angular, bony face impossibly white, stands with Maria Casares in Jean Cocteau's "Orpheus" and the peasant in Roberto Gavalodon's "Macario" as one of the greatest visualizations of death in cinema. At one point, Jof sees the Knight playing chess with Death, and he escapes with Mia and their son. The Knight travels to his castle with several of his companios, and it is there that Death finds them. As the film closes, Jof has a vision of Death leading the Knight and his companions in a dance across the horizon...
...Roberto Barrera is out in the cold. "Todas las cosas en la cocina estan rotas," he says. Everything in the kitchen is broken. Shrouded in blankets, he is sitting on a brick fence across from Van Nuys High School. The school is putting people up, but he will not go indoors. As night falls and the temperature drops to 30 degrees, a rough rule has established itself: Anglos and blacks head for the shelters, while the fields and parks fill with Hispanics, mostly new immigrants, perhaps as many as 20,000. Many of them come from countries with a history...
...Roberto S. Buso '94 said that the issue ofPuerto Rico's future ties is national allegiances."The question is, do we want to be Puerto Ricansor Puerto Rican-Americans?" he said...
Fellini once played God: he was the vagabond whom a peasant (Anna Magnani) mistakes for Jesus in Roberto Rossellini's The Miracle (1948). For Fellini, however, God was a goddess and woman was the world -- everything in the world that excites and frightens, forbids and enchants. To Marcello in La Dolce Vita, woman is "mother, sister, daughter, lover, angel, home." How small and sad and funny men are in comparison! At one end of the spectrum they are like the midget bluenose in Boccaccio 70 (1962) overwhelmed by Anita Ekberg as a sexual giantess -- it's the attack...