Word: seductresses
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Dates: during 1970-1979
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...Feminist--How Tough it Is and a Portnoy's Complaint. The book is probably meant to be the new monument to the movement. It's got everything: woman as Oedipus, masochist, narcissist, feminist; woman as hostage of her fears, her fantasies, her false definitions; woman as siren seductress and sexually screwed up; woman as dependent and woman as rebel...
...play calls for a blonde seductress, and they cast it with a sultry brunette," complained Clare Boothe Luce. "Now they're trying to persuade me to rewrite it for her. I would have thought that no one would ask me to rewrite the characters of a play that is 37 years old." She paused before adding the obvious: "I, of course, have no intention of doing it." Once as famous for her sharp tongue as for her beauty, she is mellower now (she celebrated her 70th birthday this month), but not so mellow as to rewrite her best-known...
...Lincoln Center's Vivian Beaumont Theater. The cast has been infected with the playwright's ethical fervor, and all its members deserve praise. In addition to Foxworth and Henry, three others win special laurels: Stephen Elliott as a pitiless magistrate, Pamela Payton-Wright as Foxworth's seductress, and Philip Bosco as a deeply troubled Christian minister...
AGGRESSIVE FAST-TALKING would-be seductress Judy Maxwell (Barbra Streisand) sets out to steal absent-minded, mild-mannered musicologist Howard Bannister (Ryan O'Neal) from hysterical rotund fiancee Eunice Burns (Madeleine Kahn). Bannister is in San Francisco in hopes of winning a $20,000 grant to study the role of igneous rocks in primitive man's music. The rival for the grant, one Hugh Simon, is the villain of the piece, plagiarist and foreigner, with an accent as unequivocally Yugoslavian as Streisand's is New Yorkese. Complications breed complications, and descent into farce takes about all of five minutes...
...Milanese playboy, Micol lavishes her attentions on Giorgio. As they stroll together through the garden, they people the woods and fields with remembrances of things past; glimpses of the two as children show Giorgio even then a shy admirer of the "private pupil" Micol, while she plays the seductress in their game of communication through glances. A sudden downpour dispells the sunshine of their memories, and taking refuge in an old carriage, their mode of contact threatens to become physical. But Giorgio is too slow in making this transition from childhood innocence. Paralyzed by the enticing new light in Micol...