Word: superbeings
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Dates: during 1970-1979
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...labor, Michelangelo was peremptorily summoned to Rome by Pope Julius II to design his tomb and later to paint the vaulted ceiling of the Sistine Chapel. "The place is wrong, and no painter I," grumbled Michelangelo, who considered himself first and foremost a sculptor. Three superb drawings of torsos show the pains he took over the huge scheme, which cost him four years of neck-straining labor...
What redeems these stereotypes is the controlled, idiosyncratic performances of a superb supporting cast. Director Siegel (Dirty Harry) never lets an actor go overboard. The same lean quality is visible in his film making. With the help of Bruce Surtees' elegant, metallic-hued cinematography, Siegel makes every point as economically as possible. His style is the visual equivalent of John D. MacDonald's prose, which serves this kind of material well. The tension builds so naturally that neither hokey music or contrived menace is necessary. Only once does Siegel lose control - in a jarringly graphic finger-chopping scene...
...same name (Harper & Row; $10) and herself a pioneer in the movement. Says Diamonstein, a former White House aide and a charter member of the New York Landmarks Conservancy: "Adaptive re-use [of old buildings] is moving from erratic initiative, a loft here, a firehouse there, to become a superb planning tool. It's no longer just a question of restoring a mansard roof or a neoclassic colonnade but of looking at entire neighborhoods and districts. Now I look for us to move from buildings reborn to communities reborn...
Last Embrace is a film in which a stylish director and a superb cast (even the small parts are played by well-known and expert players, including Sam Levene, Charles Napier and Academy Award Winner Christopher Walken) do their best to triumph over a script that lacks witty writing and genuinely suspenseful substance. The result is a pleasant movie to watch, if your idea of a good time is an unelevated pulse, but one that leaves no lasting impression...
Once again, Jean-Pierre Leaud delivers a perfectly realized portrait of Antoine. Playing Truffaut's autobiographical self, Leaud has merged the three: Antoine, Truffaut and himself. The rest of the performances are equally superb. Claude Jade manages to endow the solemn Christine with a rare subtlety. Nicknamed Peggy Proper because of her almost British reserve, Jade allows this woman's wit and shy humor to shine out. Marie-France Pisier performs most of the heavy dramatics; she gives her Colette a certain desperation well-suited to a woman lawyer unable to get clients and reduced to turning tricks...