Word: three
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Dates: during 1990-1999
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...week's taping, Buckley told his guests about David Susskind, the talk pioneer from the 1950s who was host of a show called Open End. "Every night he'd go on the air with some guests at 9," Buckley said, "and he'd keep going--an hour, two hours, three--until he got bored...
...years ago, Buckley cut Firing Line to half an hour from its original hour. But he still scorned the spinning graphics, the thumping theme music, the rushed interruptions for commercial breaks. There were no commercial breaks--just two or three chairs, a couple of cameras and talk...
...making. Second question: Who cares? For a start, an international coterie of readers spread across four decades. To that devoted coterie, add Anthony Minghella. "Ripley is one of the most interesting characters in postwar fiction," Minghella says, and he ought to know. The writer-director has spent three years, ever since he finished his Oscar-winning epic The English Patient, puzzling out the emotional vectors of crime fiction's most seductive sociopath...
...last two Ripley novels are slack, ungainly; Ripley is more prey than predator. But the first three (recently issued in a hardcover omnibus by Knopf/Everyman's Library) have the tone of high, dark comedy. Tom kills--Dickie, Dickie's pal Freddie Miles, an American art lover, a bunch of mafiosi--as much for the game of eluding capture as for motives of profit or survival. In Ripley's Game he gets an ailing man involved in a murder plot only because the man once spoke abruptly to Tom. Then, when the man desperately tries to kill a Mafia goon...
...residual grease of the chips it held. Is he sopping? He steps in more puddles than Gene Kelly in Singin' in the Rain. (Ten years the family rented the same flooded ground floor, and no one thought to lay a plank from the doorway to the stairs.) The three boys playing Frank at 7, 11 and 15 are fine. They create a collective portrait of a child tough enough to survive a horrendous youth and a man brave enough to recall...