Word: surrealness
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...needs to focus on the audience and the TelePrompTer at the same time. Reagan still has his suits made with buttons on the flies. He refuses to wear makeup for television. He pumps iron every day. He rides a horse when he can. His favorite story is his old surreal barnyard parable regarding optimism --about the boy who finds a pile of horse manure in a room and cries excitedly, "I just know there's a pony in here somewhere...
...bridge the human gaps, Hands organizers were expected to string miles of red and blue ribbons and rope. Cars and trucks were to be lined up trunk to hood. At week's end an armada of catamarans and sailboards hauled to the site by their owners made a surreal sea as they floated bow to stern on a hill west of Albuquerque. Hands Tennessee Organizer Tif Bingham said the event would be a huge success, no matter how broken the chain. After all, he pointed out, "the main purpose of Hands Across America is to raise money for the poor...
...also the sort of movie we want to resist--we'd rather not believe in Connie's naivete or Arnold's sangfroid, and we don't wish to remember that growing up was as difficult for us as it is for Connie. We only stop resisting when the surreal elements, like Arnold's maniacal unctuousness, take over. And when we submit, we're scared...
...colorize some old film noir favorite of his and forget it. Instead, the writer-director keeps trying to revitalize that shadowy, romantic style of the '40s by putting a hip spin on it. This strategy worked pretty well for him two years ago in Choose Me, shot in a surreal light and featuring a script that had the giddy loquacity of a liars' convention...
...faltering but brave Amelia and Pippo as surrogates for himself, still worthy of sober interest, maybe even moral admiration, although the headlines now go to younger directorial stars. Certainly he insists on pumping out more of the "Felliniesque," his trademark blend of the grotesque and the surreal, than we need to get his point that TV is vulgar and coarsening. More moving is his presentation of two carefully imagined archetypes of aging. Masina's Amelia is a woman grown more emotionally compact with the years, defending herself against their onslaught with a sort of neat, perky reserve. Mastroianni's Pippo...