Word: cast
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Dates: during 1990-1999
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...Asian male worthy of adoration for his acting, physical presence and charisma. It also should be lauded for its sensitivity in showing a range of Asian faces--not just the exotic lotus blossom of a woman, but tall, short and skinny are all in this film. The supporting cast efforts are strong and add humor and life in places where the film has potential to drag...
...always surprising how small a part of life is taken up by meaningful moments. Most often they're over before they start even though they cast a light on the future and make the person who originated them unforgettable." This sentiment is uttered by the king's son in reflecting upon the situation of Anna and his father. Unfortunately, the same can be said about the movie. Though its vignettes are charming and picturesque enough, they lack a unifying, moving message. This is not a bad film--it is entertaining enough to watch the schoolchildren, their instruction by Anna...
...cohorts apparently had other plans on Wednesday night, I was intrigued by his assertion that women are still at a disadvantage at Harvard. So, I went to the town hall meeting, hoping to be educated about the persistent oppression in my midst. Unfortunately, those in attendance--the usual cast of characters: the Radcliffe Union of Students (RUS), the Coalition Against Sexual Violence, Perspective--had another priority...
...Glen Ross, a play written by a male about males. But when Richard Roma (James Carmichael '01) uses this phrase in one of his meditations on the facts of life, it seems to convey exactly what this play is all about. Admirably directed by Jerry Ruiz '00, the talented cast of Glengarry Glen Ross creates a captivating depiction of the machinations of the business world, wherein the players sacrifice their integrity in order to gain ultimate control...
...tactics behind each line. Glengarry Glen Ross follows in the playwright's tradition of plays such as Sexual Perversity in Chicago and the Pulitzer Prize-winning American Buffalo, famous for the fast-paced, in-your-face language that Mamet prefers to call "poetry" rather than realism. Ruiz directs his cast according to Mamet's concept of "practical aesthetics," which emphasizes intention and reaction. The actor's mind must work quickly, switching from one tactic to another in order to get what he wants. Although there are moments where the actors seem to lose the freshness of the moment, they manage...