Word: weaverization
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Dates: during 1980-1989
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Translated by Helen Weaver; Knopf; 651 pages...
William Hurt is long and smooth-muscled and unlined; he looks like an experimental model for the next, higher form of life: Homo computerens. Sigourney Weaver is all beautiful angles and shining intelligence; she could be a Jane Fonda who studied phenomenology at the Sorbonne and washes her face every day with Ivory soap. His voice swoops into baritone breathiness as thoughts pop into his character's mind with the urgency of revelation. Hers is the voice of well-bred reason-behind every line of dialogue there's a Wasp sting. Each actor built a solid reputation...
Daryll Deaver (Hurt) is the night man in a Manhattan office tower; Tony Sokolow (Weaver) is the TV newswoman with whom Daryll has been conducting a one-way, cathode love affair. When they meet at the site of a murder in the building, and he professes knowledge of the crime, she determines to use him as cunningly as any Frank Capra reporter chasing a hot story on the way to falling in love. Daryll is disarmingly direct in telling Tony how much he loves her, has always loved her, and always will. His offer to wax the floors...
...activist diplomat, gets to display little more than his profile; and James Woods, who could become the most engaging villain since the young Cliff Robertson, has again been cast in a part that must have been written for Bruce Dern. The sympathetic viewer will want to rescue Hurt and Weaver, not from the bad guys, but from the mechanism of this eyewitless plot. The canny movie producer will want to recast them as the Tracy and Hepburn...
NONFICTION: Ambition, Joseph Epstein American Dreams, Studs Terkel The Golden Century of Italian Opera, William Weaver ∙The Magazine Maze, Herbert R. Mayes Walt Whitman, Justin Kaplan Ways of Escape, Graham Greene