Word: soliloquy
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Dates: during 1970-1979
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Still, if Lamont hasn't bitten too brazenly (and it goes without saying that patrician parents demand oral gratification) Rockefeller nonetheless exceeded all previously known limits for filial sucking-up. The vice-presidential nominee delivered a maudlin soliloquy on the "Influence of My Mother." By contrast, Lamont's introductory, right-up-front candor is inviting indeed...
...even when he makes sudden shifts of pitch or volume, along with a host of neat touches, like his affectionate farewell tug at Balthasar's cap near the end. In the tomb, he picks Juliet up from her bier and cradles her body on the floor during his final soliloquy (the finest speech Shakespeare gave him). In a departure from custom, at his last words--"Thus with a kiss I die"--he is able to move forward only part way toward Juliet's lips before he falls back dead, thus showing that the apothecary's drugs not only "are quick...
...lyrical and musical to an extreme. And sometimes her pace is too leisurely. She does have two fine moments: in her "Come, night" speech, her anticipation of Romeo's arrival erupts into an unabashedly erotic embracing of her bed; and she effectively manages the psychological changes in her phial soliloquy. On the whole, though, this "fair Juliet" is only fair...
CAROLE Shelley is here an admirable Viola--sprightly, intelligent, and a model of sanity in a world of absurdity. Her diction is clean, and her handling of the "Fortune forbid" soliloquy is particularly distinguished. But there is more beauty in the "damask cheek" speech than she is yet able to convey. (Siobhan McKenna's portrayal remains the yardstick for this part, as for Shaw's Saint Joan and others.) The plausibility of confusion between Viola-Cesario and Sebastian is helped here through Donald Warfield's soft, rather womanly portrayal of the brother (a role once played by a 19-year...
...film, unable to cope with the expansive length of Joyce's tour de force, concentrates on three of its most important sections: the separate appearances of Dedalus and Bloom and their subsequent meeting; their romp through Nighttown, Dublin's Combat Zone; and the concluding soliloquy of Molly Bloom. Despite the fact that the film switches the novel's setting to Dublin in the mid-sixties, it remains tolerably faithful to the spirit of the original. But it lacks Joyce's intensity; it can go no further than the flat visual presentation of events (particularly inadequate) since Joyce--almost blind--evoked...