Word: soft
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Dates: during 1990-1999
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Danielle Kwatinetz, as Karen, confronts a much more complex role. She manages to sustain unruffled simplicity and grace even after several unsavory revelations strip her of her soft-spoken naivete. Her naturalistic acting admirably reflects Karen's more thoughtful character...
...film won the 1954 Oscar award for Best Foreign Film. In addition to suberb acting. "La Strada" is visually stunning. Fellini uses warm sepia-washed black and white film throughout, and alternates between a soft and hard focus lense filter. Very rarely does he use either pure black or white. In a Bergmanesque fashion, he places the camera strategically to strengthen the film's allegorical strains. Gelsomina is always seen from slightly above, as if she were being watched by a guardian angel. During an Easter parade the camera looks upwards, circling around the massive crosses to emphasize their grandeur...
Establishment Au Bon Pain Bruegger's. C'est Bon David's The Greenhouse Cafe Physical Appearance The Ugly Duckling of cookies. Dark, dry, crusty, cracked, and hard. A baker's beauty. A very a attractive cookie--large, thick, and soft--with lots of healthy-sized chips. Nothing special. Thin, hard, few chips visible. "Wild topography." Chunky, muddy, soft like butter. The classic look. Dark chocolate chips in a small, round, firm cookie. Smell The cookie's scent is something of a turn-off. When in the Pain, go for eau de Sweet Cheese croissant instead. Nonexistent, really. Perfect...
Reeves doesn't try to soft-pedal the distasteful, but his account of the Kennedy presidency is resolutely matter of fact and not an indictment. At one point he describes the image that J.F.K.'s inner circle tried to project as one of "cool objectivity, pure information gathering, dispassionate analysis." He must have absorbed some of that style during his long immersion in the archives and artifacts of the New Frontier...
David Mamet and Jack Lemmon don't seem the likeliest combination: Mamet writes about the hard shell of life, Lemmon enacts the soft underbelly. Mamet, 45, celebrates ferocious winners, while Lemmon, 68, sentimentalizes good-guy losers. Yet twice within the past year, the two have teamed for poignant results, first in the 1992 film adaptation of Mamet's Pulitzer Prize play, Glengarry Glen Ross, and now in a surprisingly warm TV version of his 1977 off-Broadway hit, A Life in the Theatre. Mamet's austere, elliptic prose seems to bring out the best in Lemmon -- his naked frustration...