Word: waterfronts
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...apart. "I thought, 'I'm 80. What the hell do I do now? I still want a companion.'" Mynchenberg finally tried a method that he never dreamed would suit him: online dating. He joined four e-dating services, which he refers to as "friendship clubs." Every morning in his waterfront home in Ormond Beach, Fla., Mynchenberg sits down at his computer and sifts through the profiles of dozens of women, searching for an intelligent 69-to-79-year-old Floridian with whom he can share conversation, travels and intimacy--but not marriage...
...Sitting in a prime position on the Australian city's historic waterfront is a three-story sandstone building-assembled by convicts and later used to water them as free settlers-that houses nightclub Round Midnight, tel: (61-3) 6223 2491, and cocktail bar Syrup. The building is quite familiar to the locals-perhaps a little too familiar. "I started coming here when I was 18," says Andrew Corney, who recently bought both bars, "and it still looks the same...
...talk about that--not yet. Let's think instead about brutal Stanley Kowalski in A Streetcar Named Desire, about yearning Terry Malloy in On the Waterfront, about the rough voice and silky menace of The Godfather and the noble and ignoble ruin of Brando's Paul in Last Tango in Paris. Then let's think about how in a minor but still palpable way our lives--especially our imaginative lives--would have been diminished if Brando had not been there to play them. Sometimes in those movies, and in others too, he gave us moments of heartbreaking behavioral reality...
...example out of dozens will have to suffice. Waterfront's Terry is shyly courting Eva Marie Saint's convent girl. She drops her glove. He picks it up and casually, talking about other things, tries to wriggle his fingers into it. What else of hers might he similarly, clumsily like to invade and possess? And how, we wonder, have we similarly, unconsciously betrayed our truest intentions while pretending that we were just kidding around...
Elia Kazan, who brought Brando to fame in the Broadway production of Streetcar (1947) and directed him in Waterfront, never took credit for that or any of the other moments Brando achieved for him. "The thing he wanted from me," Kazan later said, "was to get the machine going. And once that machine was going, he didn't need a hell of a lot more." It was, of course, quite a complicated mechanism. Kazan spoke of the contrast, in Brando's work, between "a soft, yearning girlish side to him and a dissatisfaction that is violent and can be dangerous...