Word: roues
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...hearts of the many women who fall into his bed. Their avid emotions are the canvas on which he splashes the bright strokes of his evanescent ardor. Cristina, ready for an adventure, lures the painter to her and Vicky's table, and Juan Antonio, ever the gracious roue, proposes that the Americans accompany him to the town of Oviedo. "We'll eat well, we'll drink good wine, we will make love." "Who will make love?" asks Vicky with a schoolmarm's moral skepticism. "Hopefully, the three of us," he purrs...
...hearts of the many women who fall into his bed. Their avid emotions are the canvas on which he splashes the bright strokes of his evanescent ardor. Cristina, ready for an adventure, lures the painter to her and Vicky's table, and Juan Antonio, ever the gracious roue, proposes that the Americans accompany him to the town of Oviedo. "We'll eat well, we'll drink good wine, we will make love." "Who will make love?" asks Vicky with a schoolmarm's moral skepticism. "Hopefully, the three of us," he purrs...
...residents of nursing homes, continue to have active sex lives. Consider the decision of a Riverdale, N.Y., senior home to permit trysts among clients as long as they are consensual. Or the buzz about the film Something's Gotta Give, in which Jack Nicholson plays a 62-year-old roue who boasts of never having had sex with a woman over 30, only to free-fall for Diane Keaton, his latest girlfriend's mom, still steamy...
...beguiling international audiences since 1992, when she played the youngest of four loving sisters in the Oscar-winning Belle Epoque. She gave birth on a city bus in Pedro Almodovar's Live Flesh, played a pregnant nun in Almodovar's All About My Mother, made love to a disfigured roue in Open Your Eyes, resisted the advances of Joseph Goebbels in The Girl of Your Dreams and, in her first American role, provided a beacon of moral beauty for cowboy Billy Crudup in The Hi-Lo Country...
...ideal Proust in pictures. It roams through prewar drawing rooms, attending to whispers of malice and amour. A brilliant man (Marcello Mazzarella, as Marcel) talks to a ravishing woman (Emmanuelle Beart, as Gilberte) of an old wound. "Heartbreak can kill," he says, "but leaves no trace." The roue Charlus (John Malkovich) takes his sexual pleasures at the business end of a whip. These characters are often crushed by the burden of glamour, but the film isn't. It wears its gravity with a buoyant ease, seeing through walls, magically turning statues into people. It shows Marcel, as a child, watching...