Word: coloring
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Dates: during 1980-1980
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...were the LP's only virtue, it would be a superior record. But Simon has too much poetry in him to let arranging skill carry his songs alone. Offbeat, ambiguous images pop up in "That's Why God Made the Movies," "Oh, Marion" and "God Bless the Absentee," adding color to the vaguely melancholy feel of the verses. Simon has his occasional missteps--"How the Heart Approaches What It Yearns" is an awkward hook line no matter how cleverly it scans. But the album is more than redeemed by compelling lines like "Who was the witness to the dream/Who kissed...
Union City has the chic punk sensibility of New York fashion. Starring Deborah Harry in a non-singing role, the story is based on a cheap thriller, The Corpse Next Door. With garish Fifties sets and color, astutely overacted in Eisenhower-era soullessness, the psychological disintegration of a jealous husband is slowly depicted. The husband thinks he has accidentally murdered a milk thief and hides him in the empty apartment next door, a plot mechanism which allows the actors and actresses to camp up their roles to the limit, while dressing up in fashionable rags as well...
...past, de Villiers adds, U.S. industry has "tended to adopt the color of local industry; it hasn't been very innovative." She suggests that instead of pulling out, U.S. multinationals might train Africans for skilled and managerial positions...
...after that, one must witness the undoing of Shingen's clan through the misrule of his successor. Kurosawa contemplates ruin as he contemplates glory, with an objective thought as to what can be salvaged from disaster in the way of a momentary beauty, the accidental congeries of color and composition that men create as they go about their often bloody affairs. It is not much. But it is clearly enough to sustain the director. And, as it happens, his audience. -By Richard Schickel
...show suggests the influence of cubism, let alone abstract art, although one might be able to detect some remote Fauve echo-perhaps through Albert Marquet, whose work he saw in Paris-in Hopper's fondness for relieving a low-toned background with a sudden distant poke of primary color: a coat, a flag or the red side of a brick chimney...