Word: vividly
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Californians still have vivid memories of what Fain did one night in June 1967. Driving along a country road in the San Joaquin Valley, he flashed his headlights at the car in front of him until it pulled over. When the other driver, Mark Ulrich, 17, got out, Fain killed him with a shotgun, then raped his two young women companions. Convicted of those crimes and a third rape, Fain drew a life sentence. When word of his impending parole reached Ulrich's family and friends, they formed the Keep Fain In Committee. A petition contending that Fain...
...effective means of persuasion ever devised. Sixty-six years ago, D.W. Griffith's The Birth of a Nation was the history of the Civil War for many moviegoers; so far as millions of TV watchers are concerned, Roots told them all they need to know about slavery. A vivid new movie, Missing, promises to be similarly potent for audiences around the world, suggesting that the U.S. not only helped mastermind the 1973 coup in Chile, but condoned the murder of a young American who stumbled upon the secret. The question being debated among concerned citizens, journalists and even...
Granted these questions are abstract ones, with no easy answers. But aside from a simplistic nine-page afterward. Mitchell's only efforts to resolve these enigmas of social responsibility are the graphic, tepid biographies of his heroes. With seven vivid examples of "mavericks who would not be silenced," the author whimpers through his point by implicit example. Unfortunately, the examples Mitchell chooses are banal and consequently they ring hollow. For example...
...this evening of one-acters: it is too long (more than four hours with intermissions); it is often inconsistent; and for embarrassingly long periods it becomes as mawkish as an afternoon soap opera. But what is right about it is absolutely right. Playwright Harvey Fierstein has created characters so vivid and real that they linger in the mind, talking the night away, long after the lights have been turned out and everyone has left off-Broadway's Actors Playhouse...
...movement's bold, thrusting opening is similarly reflected in the dance, which includes some rapid-fire footwork for D'Amboise inspired by the rat-a-tat-tat of the piano. Paradoxically, Robbins is most, and least, successful with his extended bagatelle in the second movement. Into a vivid world of women - the girls in dark red, Calegari and Kistler in brightest white - Robbins suddenly injects the dark, powerful presence of Mel Tomlinson, effecting a stark, dramatic contrast. He then spoils the mood by having Tomlinson and Calegari dance a lazy, dull pas de deux...