Word: vividly
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MEDIUM COOL is dynamite. A loose narrative about a TV cameraman during last summer's Chicago convention, Cool is the most impassioned and impressive film released so far this year. Cinematographer Haskell Wexler makes a dazzling directorial debut by fusing dramatic and documentary footage into a vivid portrait of a nation in conflict with itself...
...auditioned for life and failed. Running a barbershop in a moldering district of London, they are each other's consolation prize. No hint of lust knits them together, only a saturating fear of loneliness. A special terror is to be aged and alone, and this is made chillingly vivid by Harry's bedridden mother (Cathleen Nesbitt), who lives with the couple. She is an arthritically gnarled stick of a woman who wets her bed, is only intermittently coherent and has to be spoon-fed by Harry, who tends her with a tactful if exasperated saintliness...
...described correctly the buboes, or underarm swellings, that told of death in five or six days, and the congested lungs of the even deadlier pneumonic form of the plague that killed within two or three days. Gethin's lament is remarkable because it makes the pain and terror vivid 600 years later. The authors of these two books on the Black Death mention the consistently abstract, numb quality of most contemporary chronicles...
...displayed in the exhibition alongside that of five of his pupils. An active revolutionary who later wielded tremendous power as official painter to Napoleon, a classicist able to bend Greco-Roman ideals to the service of French patriotism, David embodied the contradictions of the century. More important, his gruesomely vivid portrait of the assassinated revolutionist Jean-Paul Marat dying in a bathtub established him as the first artist to make painting relevant to real and immediate events destined for history. "The father of the entire modern school," Delacroix called...
...easy laugh or the satisfied and satisfying smirk, on the most promiscuously overtaxed on present literary and theatrical modes. There is no smidgen of irony in this production of Jesus, though certain of its devices, described here outside their stage context, will inevitably suggest the reverse. The hundreds of vivid and contemporary visual references with which Mr. Mayer has leavened this text--derived exclusively (excepting the interpolated songs) from the King James Version, Gospels and Apocrypha--are not, I think, to be take as acid annotations on either the myth they illustrate or the times which produced their referant images...