Word: romes
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Dates: during 1960-1969
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With Paris couture in the doldrums, the world's most sought-after designer is rapidly becoming Rome's Valentino. At 35 he has an unexcelled roster of customers trooping into his salon at 24 Via Gregoriana, led by Jackie Kennedy, who these days seldom buys from anybody else. More important, he improves with age; each Valentino collection strikes fashion editors as better than the last. When he showed his spring and summer clothes in Rome this winter, he declared them "the best I've ever done" and nobody in attendance would gainsay the king of Rome. Cried...
...more than 400 dresses ($90 to $175) and 300 coats ($160 to $495), plus hundreds of shoes and berets. Favorite accessory: a six-foot-long floating Isadora Duncan sea of bias silk twill. One item too special for mass reproduction: Valentino's hand-painted stockings, which sell Rome for $50 a pair. Reason, said Lord & Taylor, is that they are too fragile and too perishable...
Most of the actors attempted to compensate for their unpleasant situation with a spookiness that gives them the air of Charles Addams characters wired for sound. David Rome, as Morel, brings in a touch of Bela Lugosi as well, only to find out he is in the wrong play...
Equally interesting, if not always as successful, is Babe's substitution of a loudspeaker for the proverbial Shakespearian messenger: when a panicstricken Rome first hears that Coriolanus may be allied with the Volscians, Babe stages a fast dialogue between Menenius, the tribunes, and the loud speaker, eerie in the momentary illusion that the loud speaker is quite conscious of what the other three are saying. The use of film and speaker projection proves Babe's most successful instinct in Coriolanus and the device most fully resolved; the harrowing ending is played simultaneously on stage and film; Babe requires a dual...
...traditional director's game of characterizing Coriolanus by motivating his inability to humble himself before the plebeians. Corresponding to his entire approach, Babe emphasizes diverse characteristics of the man as situations arise. Strongest seems a perverse sense of humor: Coriolanus smiles and waves goodbye when he leaves Rome, as if he were leaving for summer camp. Tom Jones is neither larger-than-life, like Olivier (Stratford, 1960), or rich and petulant, like Ian Richardson (Stratford, 1967), and relies heavily on physical presence and quiet emphatic reading of dialogue...