Word: roguish
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Dates: during 1970-1979
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...affection. Farrow and Perkins project neither. Farrow's Phoebe is naive without the endearing thread of home spun innocence. Her vocal habit of putting equal stress on each syllable, word and sentence leads to aural torpor. Perkins' Jason is waspish and petulant with out a trace of roguish lovability...
...audience, even to the point of facial telegraphy with broad smirks, grins and grimaces. It is an attention-getting device for securing the playgoers' sympathy. As a result, the corrupt ambition and awful malignity of Richard are whittled away, and he appears as no more than a roguish prankster...
Connery, Down and Donald Sutherland are three of today's most appealing movie stars. Connery plays the rogue who devises the heist. He is roguish. Down, with her blue-glazed eyes and magnificent body, is delightful, but her part as Connery's adoring partner is not. Sutherland plays the Cockney criminal-type who helps pull off the job, but his accent sounds American even to Americans, bereft of music, charm or higher tones. Everyone else in the cast is ugly or stupid or both...
...agent of his undoing is Jean-Paul, a roguish Parisian chauffeur (Jack Lenoir) who sees that the screenwriter is too cubical to make a move toward the very available Hunnicutt character and who does the necessary maneuvering himself. He is a scampish servant of classical comedy, who cleverly manages his master's life without neglecting his own comfort. At the film's end, when the screenwriter threatens to violate the rules of worldliness by falling in love, Jean-Paul saves him from the folly of earnestness by bedding the lady himself. The writer does not take this kindness...
...manages to say a lot about the role of ethnic groups in politics, especially at a time when the conventional melting-pot wisdom has it that ethnic differences are growing ever less important as a political force. Indeed, it's tempting to compare Levine to Frank Skeffington, the endearingly roguish Irish political boss who cheerfully dominates everyone around him in Edwin O'Connor's classic The Last Hurrah. On the surface, it works. Like Skeffington, Levine has an acute awareness of his culture, and uses it to full advantage--although to Levine this requires much more subtle calculation...