Word: used
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Dates: during 1960-1969
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...several scenes, the main French characters are a foot taller than usual owing to the use of stilted boots. And they wear modified hockey outfits complete with shinguards--in a properly Gallic blue, be it said. I suppose all this is to emphasize the enormous odds facing the outnumbered British. When conversing with the British, the French speak English with a French accent. When the French talk among themselves, however, Kahn has provided them with a French translation of Shakespeare's text. While they spout French, a man and woman at the downstage extremities simultaneously speak the English version into...
Some twenty minutes or so before the play itself begins, members of the company gradually come on stage--dressed mostly in well-worn tee-shirts and dungarees--and use the area purely as a playground. These young people--about a fifth of them Negro--dribble and pass basketballs, throw Frisbees (unusually skillfully, too), play with hula-hoops, spar and wrestle, do gymnastics, shinny up and down the swing ropes, and hang by their heels from the top of the stage. Some of them make rhythms with a tambourine, rattle, triangle, maracus, and a pair of claves. Eventually there are some...
...involving the amusing low-life cronies Pistol, Bardolph, and Nym go well. Best of the bunch is Michael McGuire, who is (totes, and fires) Pistol. He has a fine comic sense, and spits out his consonants with relish. In his ludicrous run-in with the French soldier, though, the use of the French "moi" destroys Shakespeare's punning with "moy." Still, this performance compares favorably with the splendid Pistol of the late Ian Keith for the Cambridge Drama Festival here...
...Loch Ness for the Great Orm, I sat down with a British newspaper and a friend to read "Police Arrest 179 at Harvard." It might have been any other school, save for the comparatively big play and for a few proper nouns. I had often been instructed not to use the word "campus" in connection with Harvard, for Harvard was not supposed to have a campus. But here it was being used a freely as if the story were about Berkeley or Columbia. And University Hall all of a sudden seemed large and communal...
Technically, the film is little more than primitive art. Made in 1964, it was withheld during a five-year battle between co-producers. The slow dissolves, the gross use of filters to turn day into night, are rarely used today. Moreover, the local color is often put in by rote, as when Milo philosophizes, "Cities 'n' houses . . . come between us 'n' God," or when George addresses the camera in an arch epilogue. Yet The Fool Killer remains valid for two reasons. In its picaresque exploration of a naive, vanished America, it meanders into the Twain tradition...