Word: simians
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...sanguinary vengeance. In Scanners, the Force flings men against walls, drives them to shotgun suicide, creeps inside their muscles and works its way out. This last special effect is a gloss of the sequence in Altered States in which William Hurt's face and arms assumed grotesque simian form (Makeup Wizard Dick Smith worked on both films): but Cronenberg goes beyond Altered States, beyond fantasy and physiognomy, for a climax that is literally mind blowing...
...victims in this struggle are Hurt and wife Blair Brown, who, respectively, appeared invigorated and bewildered by the sordid goings on. A veteran of B-movies that capitalized on his blond locks and blue eyes, Hurt throws himself into his role, watching with enthusiasm as he slides toward the simian. He is strangely unafraid, but Brown makes up for his lack of fear, crying almost incessantly. Charles Haid's cameo as the skeptical colleague is the best performance in the film, though he cannot rise above the chaos that constitutes the finale...
...years wound on and the film was postponed, Henry could have only grown more satisfied with his concept. Even the best scriptwriter couldn't have produced a funnier character than Gerald R. Ford. There he stood, simian-like in profile, first skidding down the steps of Air Force One into the waiting arms of the Secret Service and then, in the ongoing battle against inflation donning a big red button with the letters WIN embossed in white. And who can forget Ford's classic performance in the debate with a onetime peanut farmer, when in the century's greatest diplomatic...
...personal obsession to the stage. "His greatest work," Brecht eulogized, "was his own personality." Wedekind was the first playwright of the polymorphous perverse, and his sexual emphasis and stylistic departures from photographic naturalism opened the door for Brecht, as well as all of the modern drama that followed. Somewhat simian in appearance, Wedekind was the Missing Link in German drama between the mad prodigy Georg Buchner and the Twentieth Century, the first one to come out of the trees...
...technical way, he was as much a prodigy as Mozart, and his precocity seems to have fixed his peculiar sense of vocation. He was born in Málaga in 1881, the son of a painter named José Ruiz Blasco (a fine-boned inglés face, nothing like Pablo's simian mask; that came from his mother), and by 13 he was so good at drawing that his father is said to have handed over his own brushes and paints to the boy and given up painting. If the story is true, it goes some way to explain the mediumistic confidence...