Word: whims
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Dates: during 1970-1979
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...Screenwriter Peter Stone has concoct ed a script strewn with terrible puns ("Ban the bombe") and snickering double-entendre gags that make all the tired connections between food and sex. The arbitrary plot about a chef murderer hops from place to place on the slightest whim. It is little more than an excuse for cameo appearances by top European actors (Philippe Noiret, Jean-Pierre Cassel, Jean Rochefort) and restaurants (Paris' Tour d' Argent, London's Café Royal). The settings are sumptuously photographed by John Alcott (Barry Lyndon), but Ted Kotcheff s direction is lifeless. Were...
...mother, offered a devastating portrait of Vita Sackville-West's own mother, a "pure undiluted peasant," whose tantrums made austere Knole echo like some Andalusian marketplace. Victoria, wrote her daughter, was "a powerful dynamo generating nothing," an imperious, high-strung woman given to firing her servants on a whim and more turbulent than Lady Macbeth. "I think perhaps you do not realise," Victoria complained to Lord Kitchener in the midst of World War I, "that we employ five carpenters and four painters and two blacksmiths and two footmen, and you are taking them all from us!" Victoria...
...ordinary." When he gave his readings, in a dry Maine accent and a gravelly baritone, he required absolute silence from an intimidated audience. He was about as 18th-century as a man could be; his academic life largely centered in Samuel Johnson and that circle. He had an iron whim and he did as he darned well pleased...
When her own children were born, Sunny raised them as if they were exiled royalty. Her husband, a prosperous Chicago banker, allowed her every whim; Sunny and the children-Brooks, Monty and Monty's twin sister Ethel-spent most of their early years at Eastern resorts or in Europe. The kids were privately tutored, and Sunny prevented them from mixing with anyone outside the family. She refused to lower her expectations even after Bill Clift lost his money in the Depression. Though the Clifts moved to a one-room apartment in Greenwich Village, the sheets were made of silk...
...operative principle of contemporary experience, in Cunningham's view, is chance juxtaposition. The application of chance to choreographic presentation has been one of the most controversial, and misunderstood, aspects of Cunningham's work; but for him, this represents no mere whim for the outrageous but an honest attempt to reintegrate art and life. In Cunningham's dance, as in modern life, the subjective ordering of individual experience replaces objective structure and continuity...