Word: staring
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...cautiously up the steps in bathrobe and-ascot. He may have even intended to say something until he saw the murderous intent in Bell's eyes. Then he slunk away back downstairs, and Bell continued his ravings, which he had stopped only for the time it took to stare the tutor down, for another 25 minutes. The tutor left for Europe the next week, Bell went back into read what Safire had to say that day, and the wholesale dumping of old newspapers into the cardboard box stopped. A sign appeared on the door: The National Affairs Suite. They would...
...friendly and talkative while they studied. But the moment they shut their books, he would fidget and stare first at the ceiling, then at his shoes. Beth waited, Beth smiled and one night she finally pounced. It worked...
...hand is turning and the grinder is grinding and somewhere in between there's the owner of the hand, who is quickly turning himself into so much ground round. And over in the corner there's the suave detective, with a little moustache and a twenty-below-zero stare watching perfunctorily. Looking at the owner a weasily guy who is paying to attention to the grinder, the detective rattles in his just-the-facts-ma'am-I've-got-to-finish-my-report-before-dinner voice...
...series has the brilliant intensity of a daguerreotype. Dickens' lost and searching souls stare from their picture straight and unblinking, as if to say, "This is how we were." The acting is so good that it is difficult to imagine any actor being anyone else or doing any thing differently. The one fault, alas, is Dickens' own: Hard Times was written out of rage and righteous hatred, and even this TV version, otherwise so admirable, sometimes has the unhappy sound of antique propaganda...
...MelIon's collection. It begins with two commanding portraits: Charles Stanhope, 3rd Earl of Harrington, by Sir Joshua Reynolds, and Sir Anthony Van Dyke's Mountjoy Blount, Earl of Newport. Indeed, the entire exhibit is heavily weighted with portraiture and landscapes. In one corner, the viewer can stare at the grayed elegance of a Gainsborough; in another, he is lulled by the peaceful countryside of a Constable. There is also a fine sampling of George Stubbs, including two huge works-both of lions variously attacking a horse and stag-that dominate one court. A large, dramatic Henry Fuseli...