Word: watchings
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Dates: during 1960-1969
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...chartered plane, and sat in a front row, as did Black Comedian Dick Gregory. Before the service, Richard Nixon leaned over to whisper hello to Jacqueline Kennedy, black-draped in the pew ahead, and received an icy stare in return. Such soulful spirituals as My Heavenly Father, Watch Over Me and If I Can Help Somebody were rendered so poignantly by Contralto Mary Gurley and Mrs. Jimmie Thomas, a soprano, of the Ebenezer Church Choir that Singer Mahalia Jackson, the misty mistress of mourning, began to weep silently...
...faintly Oriental face was a calm mask for the tensions that surged unceasingly within him. Yet he was the bravest man I ever knew in public life. During the terrible days that followed upon the school desegregation ruling, no white Southerner ever matched a fraction of his courage. To watch one of his marches was to sense the awesome power of strong character combined with high purpose. This is the way it must have been, one reflected, when the early Christians braved the hate and ridicule of Rome...
...winch in a whale. But after a fisherman had caught his first dozen sailfish, and heaved enough tuna on the deck to keep the family in sandwiches for years, what sport was there left in the game? What was left was to match the tackle to the fish-and watch his smoke. The 70-lb. white marlin that died like a guppy on the end of 130-lb. line suddenly came alive when the rig was reduced to 30 lb., flashing across the ocean in wild greyhounding leaps; the 50-lb. wahoo that expired without a peep...
...songs may camouflage the missing book but they cannot carry the show. Joel Grey tries to do that but the way his character has been written forces him to exhibit either a cocky disdain for others or an egomaniacal worship of self. It is more fun to watch Grey's nimble feet than his distressingly overworked features...
...imposed by the camera and the way the director moves it. The last sequence, a magnificent three-minute series of near-identical close-ups of Jane, serves as a direct confrontation of actress-character and director-alter ego. Coonradt projects himself through Jane and dares the audience to watch it: both director and actress are triumphant and, simultaneously, supremely vulnerable...