Word: stilettoed
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Mather House is the future. Stone cold, fluorescent, angular, it juts into our eyes like a stiletto from the next century. Its proportions are so gargantuan that even an unwilling observer is thrown into the role of a tiny mannequin in an architect's scale model. The low-rise section has the sinuousness and personality of a granite python, and the tower rises mute like an Aztec altar. Some people claim that architecture like this requires a new grammar of response; I think instead that Mather House almost demands that we abandon our way of seeing...
...mainly for her almost martial sense of loyalty to her man. She may flirt in Morocco with everything in trousers (and sometimes those in skirts, when she herself is wearing white-tie-and-tails), but in the end, she follows Gary Cooper off into the desert still wearing her stiletto heels. Again, in Shanghai Express, she gives herself to Warner Oland only to save Clive Brooks' life-and ends up getting Brooks after...
Mather House is the future. Stone cold, fluorescent, angular, it juts into our eyes like a stiletto from the next century. Its proportions are so gargantuan that even an unwilling observer is thrown into the role of a tiny mannequin in an architect's scale model. The low-rise section has the sinuousness and personality of a granite python, and the tower rises mute like an Aztec altar. Some people claim that architecture like this requires a new grammar of response; I think instead that Mather House almost demands that we abandon our way of seeing...
There are two reasons to see Stiletto: Actors Joseph Wiseman and Patrick O'Neal. It is a rococo and frequently incoherent gangster yarn extracted like a rotten tooth from an old Harold Robbins novel. Stiletto seems to have been written only to take a share of the profits made by such stylish thrillers as Point Blank and Bullitt. And it quickly becomes obvious that Director Bernard Kowalski (who also made Krakatoa, East of Java) is not up to that sort of competition. Judged on sheer acting talent, however, Wiseman and O'Neal are equal to almost anything...
Usually assigned to play custom-tailored Manhattan executives, O'Neal appears in Stiletto as an elegantly sadistic New York detective named Baker, who is obsessively dedicated to the proposition that Mafioso Emilio Matteo (Wiseman) must be destroyed. O'Neal turns treacherous and vicious with gusto. Wiseman, his eyes dead cold, his face frozen into a mask of menace, looks like a Krafft-Ebing case history...