Word: sensualism
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...conception of beauty for women. Instead of using this power for good, though, Vogue has mostly chosen to enforce the stereotypes of body images. Its photo spreads still show impossibly thin women, languidly perched on stools and stilettos. Advertisements for everything from purses to perfume still make use of sensual female body parts...
Pauline Kael, at one time arguably the best film critic in operation, has turned into the Hubert Humphrey of film criticism. She comes on chatty and playful when talking about film techniques, valuing good stars above acting and sensual excess over rigor, all the time letting us know that under that tigress bite of hers beats a heart which overflows with sympathy. She makes sufficient noises in the vague directions of liberalism to insure our recognition that she cares in the correct way about moral and political issues which the films she sees might raise. She is overwhelmingly ebullient...
...modern standard for which was set by Scott with 1990’s aptly-titled Revenge—and even this craftsman cannot avoid them. Think about it this way: Marc Anthony appears in Man looking like an extra from Wall Street, but that cannot hide his essential sensual smoulder from coming through. Tony Scott’s latest effort may have as many gaps as the CIA’s last intelligence report, but the man who brought the world Ice Man still knows how to smoulder...
Pauline Kael, at one time arguably the best film critic in operation, has turned into the Hubert Humphrey of film criticism. She comes on chatty and playful when talking about film techniques, valuing good stars above acting and sensual excess over rigor, all the time letting us know that under that tigress bite of hers beats a heart which overflows with sympathy. She makes sufficient noises in the vague directions of liberalism to insure our recognition that she cares in the correct way about moral and political issues which the films she sees might raise. She is overwhelmingly ebullient...
...around in an undershirt, or Kim Hunter absently slinking down a flight of stairs, or Vivien Leigh flinching away from a naked light bulb. And for a college, of all places, to tackle Streetcar—to take actors not long out of high school and cast them as sensual hulks and aging pedophiles—is an even trickier proposition; a few false steps and the production could start to feel like Max Fischer’s Serpico. But having all these bars against them, the Eliot crew has nevertheless managed to pull off a mostly genuine and affecting...