Word: toni
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Dates: during 1960-1969
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...York, a bachelor dentist named Julian Winston (Walter Matthau) enjoys the benefits of a towheaded gamine, Toni Simmons (Goldie Hawn). How can he elude the marriage trap? Simple: by telling Toni that he is already bridled with a wife and saddled with three children. Suspicious, the mistress demands to see the wife. Winston persuades his spinster nurse, Stephanie Dickinson (Ingrid Bergman), to pose as Mrs. Dentist. Byzantine complications add a flush to Stephanie's sallow countenance, but the complications are purely formal. Once Bergman zeroes in on a male lead, the light comedienne should pack her gags...
...Keller, runner-up in the foil at the national championships last year. is gone So too are all-Ivy epee Geza Tatrallyay and sabre Toni Abbott...
...TONI MEYER...
...Toni used relatively restrained camera movements, at most slow pans (excepting one frightening tract), to create a world of permanence--the land, into which all the characters' actions flow. This formal method realizes the plot to give the film a feeling of fatality an fixity. The world of La Marseillaise is a world of motion. But the moral structure of the films--Renoir's view of the place of personal feelings and actions in the world--is the same. Both films are created, closed works, the setting of La Marseillaise being as purely evocative (again, one couldn't draw...
...plot is circular: the world is unchanged, a character is dead--but our understanding of the milieu (characters and setting) has been amazing enlarged. The end of Toni repeats the first shot and it is frightening. Filled with an incredibly strong feeling of the world of film--a feeling almost of aesthetic passion--we are unable to act. This closed world, Renoir's creation, is fixed...