Word: superbeings
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...Crimson extended its record to 10-1-0 (9-1-0 ECAC) by overwhelming the Bulldogs' defense and its superb goaltender Kim Martin. Although Harvard only finished 2-of-12 on the power play, and failed to score on two different 5-on-3 chances, it managed 21 shots during its man-advantage situations. Also, two of its goals were the result of patient play in the special teams combined with great finishing touches...
...confusing by the two background dancers incorporated into the scene, which seemed jarringly out of place and did not flow at all with the performance. The second cantata, “La mort d’Hercule,” was much easier to follow, largely due to the superb performance of John D. Kapusta ’09. Kapusta’s singing was full of dynamism and energy and made the story easy to understand. Though the narrative aspect of the cantata was much improved, the applicability to modern life was still hazy. Its themes of betrayal...
...season was also Richter’s first shutout and first collegiate victory. In front of Richter, the Crimson defense held Boston College scoreless in eight power-play opportunities. Harvard coach Ted Donato ‘91 said that Richter’s play was “superb,” adding, “he really made some big saves.” The rookie’s performance earned him the nod against then-No. 11 Cornell on Friday night in Ithaca, N.Y. Richter held the Big Red to one goal on 12 shots through two periods...
...minutes. The negative of his original cut was destroyed in World War II bombing raid. In 1959, a time when the film was rising steeply in critical estimation, two Frenchmen reconstructed it, with Renoir's approval, to 106 minutes. This is the version released by Criterion, but in a superb high definition digital restoration that removed thousands of scratches, stains and other defects, and with enhanced subtitles that translate more dialogue than earlier versions. Extras include interviews shot especially for the disc with Renoir's son, with the film's set designer and with one of its stars, Mila Parely...
...Another: Criterion's Ozu two-fer is a superb instance of one director revisiting his own earlier work, the way Hitchcock remade The Man Who Knew Too Much. In 1934 Ozu directed an 86-minute silent (the Japanese were late in making the transition to sound) about an aging actor who returns with his theater troupe and his current mistress to his home town, where he reunites with his former lover and their now grown son. Bittersweet misery ensues. In 1959, when Ozu's reserved style was fully formed, he remade the story as two-hour color film photographed...