Word: woofed
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...well, but her acting suffers from lack of direction as she continually repeats the same confused or bitter facial expressions. Boo Shreeve's Jeannie whines and giggles a bit too much; she would be more at home in an "Archie" comic book. Of the remaining males in the cast, Woof (Jay Baer) projects puppy dog charm, particularly in the scene where he ecstatically praises Mick Jagger...
Crazy like Napoleon. Margaux has picked up the fashion world and wrapped it round her little finger; she has tamed the press and subdued Madison Avenue. "It's like a fairy tale," she agrees. "But blah blah, woof woof, as Jimi Hendrix used to say." Says Miss Mary, Ernest Hemingway's widow (and Margaux's step-grandmother): "She was such a nice healthy kid, I hope nothing spoils her, natch." About her publicity-hating grandfather, Margaux is admiringly respectful, exulting: "Grandpa's spirit's in my marrow." But she prefers people to realize that...
What Coppola is attempting is a portrait of a world. The film has a warp in the story of young Vito Corleone and a woof in the story of his son Michael separated by about 30 years. Vito (Robert DeNiro) takes the first steps on the ascent from petty thief to capo di rutti capi in a series of flash-backs interspersed in the main action. Here, Michael (Al Pacino) has to deal with the legacy of his father--an extra-legal fiefdom doing business on a scale Exxon wouldn't sneeze at--and try to adapt it to changing...
...they mindfuck with the social worker. Once the old man--who says he and the kid's mother (who is Murray's sister) communicate mostly by rumor--yells up at an apartment, 'Hey there rich people. Come out at ten o'clock and play volleyball.' It's all a woof against capitalism." All this was said to us by a friend from the south side of our town, who calls A Thousand Clowns "absolutely the greatest movie I've ever seen." Sometimes he tries to pretend he doesn't know anything about art, but we know better and respect...
Such is the warp and woof of See No Evil. The notion of any helpless, threatened blind girl kilometers from nowhere would excite empathy and terror. As Sarah, Mia Farrow raises every available hackle as she retrogresses from sunny convalescent to whimpering animal. She has done her homework diligently; the tentative movements, the high querulous voice that reveals her pitiful dependence are convincing attributes of her newly sightless state. If she displays a narrow emotional range, that is less the fault of the actress than of the film makers...