Word: whose
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Dates: during 1970-1979
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...Freshmen whose name appeared first on housing applications will receive notification for their entire rooming group in letters distributed to their doors, Dingman said...
...ingenuity and control displays itself in ways that are embarrassing to name: the breathtaking efficiency, for instance, with which one character in Assault snaps a man's arm at the elbow; or the startling, gimmicky appearance, time and again, from out of nowhere, of the masked killer in Halloween, whose presence is signalled by an amplified breathing sound and a supernatural thrum. Carpenter's action sequences are especially resourcefully engineered. There is one virtuoso scene in Assault on Precinct 13, in which the station office room receives an intensive barrage from outside: the street gang is equipped with silencers stolen...
...direct movies."' Carpenter's cunning proficiency, the workman like spit and polish of his low budget productions and his obvious debt to and affection for earlier movie-makers have tempted a number of critics to consider him a clever contemporary heir to several 40s and 50s directors whose exciting grade-B films have been sauvely generalized under the label film noir. Just now, with the success of Halloween, more careful critics are insisting that Carpenter is not as good as all that...
...escapes detachment and coldness chiefly because of uniformly excellent acting. Every actor crafts and sustains a character; even the bit parts are people with distinct--if annoying--personalities. Heitzi Epstein (Olga), Jenny Cornuelle (Masha) and Anne Clark (Irina) turn in carefully sustained and sensitive performances as the three sisters whose emotional foibles and frustrations are the play's heart. Clark as the youngest sister deftly moves from lighthearted young girl to pensive despairing woman. In one scene she darts across the stage, childishly reveling in the attention she receives; in the next, she stonily recalls her former happiness and despairs...
FINE performances in the rest of the cast match the skill in the title roles. Paul Redford is brilliant as Andrey Prozorov, the brother and owner of the estate, whose dream of becoming a university professor is frustrated by a tragic marriage to the bourgeois Natasha (Grace Shohet). Redford skillfully makes the transition from idealistic brother to alienated bitter council member. He epitomizes Andrey's awkwardness in his shuffling, hesitant walk and bursts of speech. And Shohet is deliciously annoying as the pushy, vulgar Natasha, who does nothing but drool--loudly--about her children...