Word: shallowing
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Dates: during 1960-1969
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Wrong Dream. They might be, except that Condon loses his balance and -odd for him-goes off the shallow end. For the first time in eight novels, he wavers from his delightful obsession that maniacal rigidity is civilization's main motivating force and therefore the only human quirk worth a novelist's attention. He begins to worry solemnly about what went wrong with the American Dream. One of the results is a lengthy mumble that goes like this...
...shallow a role and so bland a story Deneuve brings, of course, her exquisite face and presence-eerily evocative of a warmer Grace Kelly. There is something incongruous about a 9-to-5 Deneuve; she knows it, and plays straight a brief scene where, as Tired Working Girl, she soaks her feet in a basin. The day she quits her job she leaps back into bed-fully clothed. These moments lend life to a minor, if remarkably accurate evocation of a certain sort of life. But it gives Deneuve a chance only to mark time until she can slip into...
...youngest, handsomest and most spoiled of the Kennedy brothers had often seemed shallow and irresponsible...
Kristoffer Tabori is most appealing as the young smooth-cheeked sidekick that Pistol inherited from the dead Falstaff. (Whereas Shakespeare designates him simply as "Boy," the program calls him "Davy," through Davy in 2 Henry IV was Justice Shallow's servant and not Falstaff's). When the Boy is left alone with a field of corpses, he slowly wanders about, deeply, shaken and unhardened by his hands. Espying the approach of two enemy French soldiers, he scampers up the jungle-gym. But the soldiers pursue and overtake him, coldly spear him, and depart leaving one more corpse on the silent...
...freedom without getting too heavy. Brian Kahin's new Barbara Baby is more successful than one could expect. It investigates our dreams through idealistic characters whose flair infects the film. Inventive camerawork-pixillation, fantasy sequences, beautiful cutting-establishes the characters and their Panachethrough their appearances-and simultaneously exposes their shallowness, the characters, the limitations of their flair. The film, through its characters, maintains the ideal balance between being moving and shallow, romantic and absurd-not by attacking romanticism, but by showing its limits...