Word: visualizing
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Dates: during 1960-1969
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Performer & Critic. Carson's bag is unpredictability, not only in his offhand humor but in his visual performance. He is General Eclectic himself, a master of a thousand takes. He's got a Jack Paar smile, a Jack Benny stare, a Stan Laurel fluster. If a joke dies, he waits a second, and then yawns a fine Ed Sullivan "Ho-o-okay. . ." A sudden thought-either his or a guest's-will launch him into an imitation of Jona than Winters imitating an old granny. He can spread his eyes wide open into a wow. Semi-emancipated...
...casts of Marisol's Damien. Hawaii, said the Senate resolution, will be judged by the "maturity of its civilization." The Marisol version "will impress the viewer not only with the temperament, character and greatness of the man it represents, but also provide an unforgettable visual experience." Apparently persuaded, the House last week backtracked and, hours before adjournment, voted 37 to 14 to send Marisol's Father Damien to Washington...
Chafed Elbows is also an experiment in visual humor. Downey uses still pictures for more than half the movie, treating the frozen action as a cartoon. Dinsmore is on a roof undressing a girl. Stop. Comment. He makes love. Stop. He throws her off the roof into Long Island traffic. Comment, existential chuckle. Dinsmore gets a stop-action hysterectomy which, allowing for differences of taste, is still not the last laugh. But that it is humorous at all is Downey's victory...
Urey bases his wet-moon theory on far more than mere visual evidence. As he sees it, most of the earth's stony meteorites come from the moon, knocked off by other meteorites and occasional comets that have bombarded the lunar surface. Imbedded in many of those moon-sent meteorites are smooth fragments that appear to have been shaped by frictional effects like those that would be caused by flowing water. They also contain such minerals as clay-type silicates and calcium carbonates that Urey says "can hardly be accounted for except by the action of liquid water over...
...palace rooms. He has Eisenstein's passion for objects, particularly chandeliers, and for pageantry. By rapid cutting from dancer to objects to this or that on-looker he gives motion to ceremonies which I imagine would be otherwise tedious to Occidentals. In fact, it is chiefly through the visual manipulations that the movie is comprehensible to Westerners. A few scenes, shot by the walls of the palace or on its roof, recall the periods of magical quiet in the courtyard episodes in Rasho Mon, and it is at these times that the film seems most strange and foreign...