Word: sky
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Dates: during 1990-1999
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...fiasco begins as Tim O'Hara (Jeff Daniels) is driving home in his beat-up, smoking car after sabotaging his news reporting career by unintentionally flirting with the boss's daughter (Elizabeth Hurley). Suddenly, a flash of light illuminates the sky, and he slams on the brakes. A spacecraft has landed on the nearby Enter Martian--a red, three-eyed creature who sees O'Hara recovering from the shock and, realizing he has landed on planet earth, chews on a piece of blue gum enabling him to transform into Christopher Lloyd. Grace, the spoiled boss's daughter whose glossy lipstick...
...arrive in San Francisco and notice a big difference in the weather. There is a large yellow object in the sky that hurts when you look...
These musings were prompted by the just released film October Sky, another drama about a withholding father and a stubborn son that also made me cry. October Sky was produced by Charles Gordon, who also produced Field of Dreams, which makes him one of the great male-weepie auteurs. "The kid seeking his father's acceptance is such a universal theme," says Gordon. It's also an old theme: if God had even once said he was sorry, or at least admitted he was a hard-ass and offered to take Abraham or Jesus out for a malted, I would...
...think I'm giving too much away to note that one, Homer makes good; and two, one of the film's final images is of Dad's arm giving Homer's shoulder a paternal blessing as a rocket soars impossibly high into a deep blue sky--a male-weepie moment to rival Field of Dreams' climax. An entire audience of NASA brass and astronauts was reportedly broken up at a preview screening in Washington, although when I checked this out with former astronaut Jim Lovell, the commander of the Apollo 13 mission, he gave me a cagey "not really" when...
...second piece, "Maelstrom", choreographed by Mark Morris, was an abrupt change from the previous piece. Performed to a Beethoven Trio, the piece was quite classical compared to the previous one. With romantic costumes and a delicately clouded sky as a backdrop, the piece was classically Mark Morris, with its use of repetition, bringing themes and elements of the first two movements into the third, resulting in a harmonious cyclical effect...