Word: whore
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They start off in 1974 And do updates for every media whore: A Nixon comeback, to Park Avenue, For a Dick who should have done sepuku A million bucks from David Frost he took. To tell the nation he is not a crook. Of all the comebacks, though, this is the worst: The "contented mom" that was Patty Hearst. Then I grab the mag. I almost toss it. More annoying drip from Farrah Faweett...
...leads are probably the best thing about the film, with Nathalie Baye particularly standing out as Nicole. Baye, remembered for an excellent performance in The Return of Martin Guerre. plays another ambiguous heroine. She infuses the whore-with-a-heart-of-gold with a mixture of toughness, humour, and catlike grace. She is actually believable as the prostitute who makes 30,000 a month while at the same time deeply in love...
Stoppard has written a play as new as nouvelle cuisine (which, incidentally, it dismisses as passe) and as defiantly déjà vu as Private Lives, Miss Julie and 'Tis Pity She's a Whore (allusions to which snake deviously through the plot). On its dazzling surface, The Real Thing is a throwback to the comedies of Oscar Wilde, Noël Coward and Philip Barry. This is love among the leisure classes, in which aristocrats of style spend their time polishing epigrams and tiptoeing into one another's penthouse souls. Stoppard's characters have...
...auditions, he just looks at her until she blushes. He tells her to make her own decisions, to leave Snider--but in his eyes there is a feverish, ashamed glint that hides the familiar fantasies: Nicholas's difference is that he sees her as a Madonna instead of a whore. When she's with Aram she dresses better and drives a nicer car--but she's still an image that is only shattered when Snider destroys them both in a horribly protracted fit of self-annihilation...
...stereo type of the nude. Manet invariably painted women as equal beings, not as denatured objects of allure. Victorine, the model, is clearly a model doing a professional stint; the illusions of the salon body, timelessness and glamour, are no longer properties of nakedness. Other artists painted nymphs as whores; it took Manet, in the Olympia, to paint a whore as her own person, staring back at the voyeurs, restricting the offer to a transaction. Here, as in paintings of women who were not models (like Berthe Morisot, whose shadowed and inward-turning beau ty Manet could portray...