Word: suitoring
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Dates: during 2000-2009
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...Muslims scattered in U.S. cities; Islam forbids physical contact in dating or cruising for mates in nightclubs that serve alcohol. A breathless young man once phoned Magid in the middle of the night to ask if he could perform a marriage in a parking lot "right now" so the suitor and the woman in his car wouldn't feel guilty about what they wanted to do next. "I'm not a 7-Eleven," the imam barked into the phone. To help with romances, Magid and his wife run a matchmaking service, holding daylong retreats at which young Muslim...
...urban setting is not an asset, but one of the institution’s most notable weaknesses. In Cambridge, I no longer wake to the chirping of birds. Their songs have been replaced by the Harvard shuttle’s boorish droning. The shuttle, like a persistent suitor, returns to its place beneath my Mather window every ten minutes from eight in the morning until four in the afternoon, offering up its garbled, biodiesel-tainted entreaties and refusing to take no for an answer. Worse than that, however, is the lumbering of the heavy machines across the way, which thunderously...
...Giant Vegetable Competition held each year by Lady Tottington (Helena Bonham Carter). To allay the villagers' fears that their supersize tomatoes and zucchini may be ravaged by rabbits, Wallace invents a gizmo that captures the critters without hurting them--much to the disapproval of Lady T.'s slimy suitor, Victor Quartermaine (a perfectly pompous Ralph Fiennes), who would rather blast the bunnies to bits. Soon the locals have a larger, more vicious threat: the mysterious, vegemaniacal Were-Rabbit...
...other hand, the angry black of the new wave--dark glasses, sour black T shirts and scruffy black jeans--is more the anarchist's traditional black. It is neo-beatnik, the color correlate of the adolescent angst satirized by Chekhov. Why do you always wear black? Masha's suitor asks her in the opening scene of The Seagull. "I am in mourning for my life," the girl declares...
...film’s other performances are tender and believable. In particular, Kimberly Elise and Shemar Moore, portraying the “mad black woman” and her blue-collar suitor respectively, really shine. Their nuanced portrayals sell the romance, and Perry’s script wisely sidesteps the manufactured histrionics that mar so many cinematic romances...