Word: film
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Dates: during 1990-1990
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...subtle sense of playfulness. There is nothing funny at New York City's Henry Stewart, where neither the prices ($3,500 to $4,500) nor the styling ("the Savile Row look") are good for laughs. Stewart, who made some of the smart costumes for Brian De Palma's upcoming film version of The Bonfire of the Vanities, says the demand for his suits with "a very smart, small waist, nice and snug off the hips with a full chest," is "increasing, but we just haven't got the men to meet it. There are no tailors around...
...that judgment reckons without the transforming power of animation, which in this case offers a fascinating study in contrasts. The setting is the Australian outback -- vast, empty, rendered in subtle pastels and often seen from radically high or low angles -- where only grownup man, the poacher, is vile. The film's designers speak of Gustave Dore as an inspiration, but their use of geologic mass may also remind viewers of the Creation sequence in Fantasia. And their vision of the eagle recalls Fantasia's prehistoric creatures...
...have all been the poorer for this. And we are infinitely the richer for his sudden and glorious reincarnation by Gerard Depardieu in Jean-Paul Rappeneau's faithful and generous adaptation of Rostand's work. For the film not only restores this splendid spirit to his rightful place in our consciousness but also redeems a virtually abandoned cinematic tradition...
...another effort by the same screenwriter, Bruce Joel Rubin), which one fervently hopes is not going to set the style for the '90s. In other words, director Adrian Lyne has encapsulated the cliches of three decades in a single dreadful and hysterical movie. This may be of interest to film students, who can learn from Jacob's Ladder everything they need to know about how not to make a movie. But ordinary audiences are advised to pass...
...with perfectly controlled motes of close-valued color and big, tranquil, centered images that resembled stars or novas. One can see them as part of the same (now utterly defunct) fixation on the "spiritual" possibilities of outer space that tinged the culture of the day, whose big expression in film was Stanley Kubrick's 2001: A Space Odyssey...