Word: velvets
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...most of the characters, ranging from the affable old lady (that smiles benevolently throughout the whole movie like a catatonic overgrown Cabbage Patch doll) to the good natured town drunk/basketball maven, played by Dennis Hopper. While certainly a change from his role of homicidal maniac in Blue Velvet, Hopper's performance--though often rather forced--has easily the most depth of any in the movie. His controlled energy and powerful screen presence do much to stabilize the film...
After dumping my Adidas on one of the many shelves, I hopped through the icy foyer into the warm, incensed air of the Krishna center. I was late, and an enthusiastic vocal mishmash of "Hare Hare'' was already pouring from the ceremony room. Parquet floors and velvet-tinsel wallpaper surrounded a gleaming swirl of wooden staircases and crystal chandeliers --it seemed more like a British bed'n'breakfast than an eastern temple, and my brain-washing scenario faded in the face of architectural banality...
...FRONT OF THE TEMPLE'S ceremony room, set off by red-velvet stage curtains, was the altar. Fronting the alter-stage was a three foot wooden collection box--a glass panel exposing a substantial sprawl of bills. Behind the box, yellow marble steps tiered upwards towards a row of white lattice huts, all backed by silver lame curtains. Inside the huts, decked with purple and red leis, sat various wide eyed Kewpie doll recreations of Krishna. The whole thing was strongly reminiscent of a Wheel of Fortune Fun in Hawaii showcase...
...circle on the program is Lindsay W. Davis '75 (class year proudly added) who is responsible for the sets and costumes. It seems as if the actors leap off-stage every 40 seconds, returning with a new costume even more hilariously appropriate than the last. Sharkskin jackets with velvet collars, peg-leg pants with built-in bicycle clips, skirts floating on clouds of crinoline, striped loafers and white bucks, strapless cocktail dresses revealing white powdered shoulders. The hats along bring a lump to the throat...
...change every scene, is equally inventive. In addition to the lacquered, stepped "nite-club" stage, it features a side area covered by a huge venetian blind, which any self-respecting femme-fatale would give her feather boa to be seen through, holding a smoking revolver in her arm-length velvet glove. Aided by Greg Sullivan's lighting, director Deal stages images that always seem eerily appropriate, as if we all carried around the Judy Garland version of A Star is Born like a race-memory...