Word: instead
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Dates: during 1990-1999
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...Spock-era kids brought cartoons into the age of psychiatric help, 5[cents] at a time. Reflective, neurotic and deadpan, they were to their predecessors what Bob Newhart was to Moe Howard. They were children of postwar prosperity, a time when Americans could afford to have anxieties instead of fears. They played Beethoven; they parked in front of the TV; they cradled security blankets. (They played baseball too, but they weren't exactly good at it.) Our Gang could have taken them without breaking a sweat...
...ended when Matt was two, and his older brother Kyle, 32, a sculptor. But it's his mother, Nancy Carlsson-Paige, who seems to have had the most influence. When colleagues at Lesley College in Cambridge, Mass., asked Carlsson-Paige for her son's autograph for their daughters, she instead invited the daughters to a discussion group. She showed them pictures of Matt at their age and explained that he was just a regular person, like them. She acknowledges, however, that in one way her son is different. "It's unusual for children to become interested in something really young...
...Dickie's father when he says he went to Princeton with the boy. He believes not in inspired improvisation, as the book's Ripley does, but in studying hard. In the movie, Tom's plotting has the calculation of a Bach fugue; Dickie's avocation is playing jazz saxophone instead of painting, and he loves the dangerous freedom of Chet Baker and Charlie Parker. As played by Law, Dickie oozes a reckless sensuality, turning the beam on and off at will, indulging Marge's love while he stealthily impregnates an Italian woman. In a movie that ups the sexual octane...
Velazquez's achievement was unique in the Spain of his day. He soon grew out of painting religious pictures. Instead he created a secular and courtly art--mainly portraits--in which a meticulous realism was conjoined with an extraordinary sense of the mechanics of painting. Velazquez gives you the physical marks of the brush, declares in advance that they are special effects, and yet defies you to shake free from their illusion...
...have failed? With a smugness that smothers the actors' energy and obliterates the historical reality. Welles is a pompous oaf, and Houseman his toady. The rich are scheming, the poor artists cliches of do-gooder striving. These are caricatures drawn so violently that one sees blotches of ink instead of quick, deft lines. Perhaps, in the long view, we are all idiots. But we don't need a 60-year perspective to see Robbins' attitude revealed in all its meanness of spirit. If he hated these people so, why did he waste his time and ours putting them on film...