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...more magical windows, in my opinion, than New York City's Bergdorf Goodman, where creative director Linda Fargo and her team of visual experts draw on such disparate sources of inspiration as the ho-hum Post-it note and the over-the-top interiors of Tony Duquette. In this special supplement to Time, we identify what we call the Design 100, the people and ideas behind today's most influential design. It's a list that spans the globe and also the spectrum from the everyday to the otherworldly...
...cheap. 2) The Harvard Advocate vs. The Harvard-Radcliffe Science Fiction Association. For a publication whose logo is a winged-horse, the Advocate contains far too little magic and far too few spaceships. 3) Harvard-Radcliffe Society for Creative Anachronism vs. Current Magazine. What’s so special about the present? The 16th century was fun enough. 4) Committee on Deaf Awareness vs. Harvard Radcliffe Orchestra. If you can’t perform Beethoven’s 9th with sign language, don’t do it at all. 5) Helping Hand and Heart vs. Harvard Emergency Medical Services...
...jolt of nudity, as did the sight of bulky wrestler types (Ted de Corsia in The Naked City, Stanislaus Zbyszko and Mike Mazurki in Night and the City), or Brute Force's lusciously muscled John Hoyt with no shirt at all. Dassin's appreciation of topless torsos give a special piquancy to the last line of Hellinger's narration in his docu-drama: "There are eight million stories in the naked city. This has been one of them...
...pictures. (Film noir is a genre that never goes out of favor.) The Criterion Collection lavished its legendary care on editions of Brute Force, The Naked City, Thieves' Highway, Night and the City and Rififi. And when that film was briefly released in theaters in 2000, it won a special award from the New York Film Critics Circle. Yet a bunch of Dassin's major Euro-pix, including He Who Must Die, The Law and Phaedra, and his late-60s urban drama Up Tight!, remain unavailable on DVD. Some of his movies are so hard to find, they have...
...year-old the role of Moses, where Heston, with an old man's beard and a young athlete's energy, holds his staff above his head, parts the waters of the Red Sea and beckons the Israelites to walk on through. That last bit was a special effect, but Heston's Biblical authority was persuasively real. Moreover, The Ten Commandments was a huge hit, ensuring that other religious epics would be made. Heston starred in the biggest, Ben-Hur, which won a then-record 11 Oscars and was the top-grossing film of the decade...