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...BUGABOOS. In the wilder reaches of British Columbia, the two dozen peaks of the Bugaboo range are unique. No lifts climb the glaciers and forested hillsides. Helicopters airlift skiers to the mountaintops, and guides lead visitors down through deep powder. Good legs and advanced technique are essential; so is a fat bank account. A week, including helicopter lifts, runs about...

Author: /time Magazine | Title: Modern Living: The World's Greatest Ski Areas | 12/25/1972 | See Source »

...Little House books, by Laura Ingalls Wilder, Harper & Row; 8 vols., 95? each...

Author: /time Magazine | Title: Books: Paperback Dividend: Children's Books | 12/25/1972 | See Source »

...BILLY WILDER'S BEST comedies could make you laugh when you saw them and still leave you thinking, if you were to inclined, when you get home. His bawdy farces were popular and funny, even a bit courageous for their time in the moral questions they rained. By the middle '60's, though, the sex comedies Wilder was making were far behind the vanguard, and he showed no sign of climbing out of his rut until 1970, when he made The Private Life of Sherlock Halmes, his best film in at least a decade. Had Wilder regained his originality...

Author: By Richard Shepro, | Title: Realemmon but Sweet | 12/19/1972 | See Source »

...Wilder made the film in capris, Sorrento and a studio in Rome, yet Aventi! has little more Italian flavor than Joe's Plaza. Wilder's infatuation with obtrusive angular shots emphasizes hotel musicians, airplane landing gear, the mortuary, and the like. He hopes on establish ambiance based on the incongruity of Italy the jet set vacation spot and the "real" Italy--a country he feebly represents with fetching shots of nuns, priests, hungry boys, and a breast-feeding woman. The incongruity is, in Avanti!, only a clumsy attempt to create an ironic background for ironic romance...

Author: By Richard Shepro, | Title: Realemmon but Sweet | 12/19/1972 | See Source »

CARLO RUSTICHELLI'S insistent mariachi score contributes to the failure of the failure and so does the often garish Deluxe color. But there is a more important problem: Wilder cannot, when working in a place that is real, create a picture that seems real. His great environments of past films--the Hollywood of Sunset Boulevard (1950), or speak easy Chicago in Some Like it Hot (1959)--were made from studio sets, and even in Avanti' the best creations are the hotel bedrooms, which are not Italian...

Author: By Richard Shepro, | Title: Realemmon but Sweet | 12/19/1972 | See Source »

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