Word: toneed
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Dates: during 1990-1999
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...They include chief of staff Alexander Voloshin; Yeltsin's daughter Tatyana; former dissident turned political consultant Gleb Pavlovsky; and two businessmen and Yeltsin-family favorites, Alexander Mamut and Roman Abramovich. Much of the war has been waged by proxy on TV, with nasty Sunday-night news battles setting the tone. On ORT, a state-owned network that is largely controlled by Yeltsin supporter Boris Berezovsky, news anchor Sergei Dorenko bludgeons home the idea that Luzhkov is a murderer, a crook, a hypocrite. Yevgeny Kiselev, the main talking head on the private, pro-opposition TV network NTV, tries to defend Fatherland...
...letter to Coke's 30,000 employees last week, Ivester pointed to the "soul-searching" that preceded what was clearly a painful decision to abdicate the company throne. In an uncharacteristically melancholy tone, he exhorted the troops to look not toward the travails of the past but the "opportunities" of the future...
...damned if it doesn't have the wittiest opening credit sequence of the year. It's a not-so-subtle allusion to 1950's credits wiz Saul Bass, and the mere echo works wonders to situate the film within a specific time period, genre and tone. You can practically smell the Lucky Strikes. Even if you don't recognize the reference you'll appreciate the handiwork, and John Seale's meticulous cinematography consistently honors the old masters of that time...
...might have destroyed the naturalism of the piece. As Shelley Levene, an aging seller desperate for a comeback, Paul Monteleoni ('00) continually provides the play with energy and freshness. If ever this humorous vitality turns unwieldy, Monteleoni always manages to rein himself back in with a sudden change of tone or an expression that reestablishes realism in the scene. Although saddled with one of the play's less developed characters, Ray Courtney ('01) as Baylen displays comfort and wry humor in his role...
...messy story-telling and poor characterization in the film are aptly capped off by the worst instrumental soundtrack since Kenneth Branagh's Hamlet. One would expect at least a few traditional Irish folk songs, or instrumentals of a somewhat Irish tone; unfortunately, all we get is sweeping orchestral muck more suited for a huge epic than the simple story of one poor Irish family. Not surprising, considering the fact that John Williams, of Star Wars fame, was in charge of the score. Limerick is no Tatooine...