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...performers in "Smiles of a Summer Night" are uniformly fine, with Bjornstrand and Dahlbeck leading the elegiac minuet. Dahlbeck's face, no longer displaying the blush of youth, makes a great subject for the camera. While Bjornstrand's features oftern seem a mask concealing his ture emotions, Dahlbeck's face bears witness to all the joys and travails to which life has subjected her. Naima Wifstrand as old-Mrs. Armfeldt steals every scene she in which she appears; her impossibly wise old dragon is as good as anything Edna May Oliver ever did in Hollywood...

Author: By Joel VILLASENOR Ruiz, | Title: Bergman Receives Seal of Approval | 3/24/1994 | See Source »

Locked inside the Capitol in room H305, a racquetball-court-size chamber outfitted with eavesdrop-proof paneled walls and soundproof padded doors, the members of the House Intelligence Committee could barely mask their indignation last week as they hurled questions from a horseshoe-shape dais...

Author: /time Magazine | Title: Spies At an Inquisition | 3/21/1994 | See Source »

Through July 3. African and Oceanic Sculpture: Treasures from a Private Collection. The objects are mostly wood and terracotta, ranging from a miniature wooden mask from Zaire to monumental yoruba veranda post from Nigeria...

Author: NO WRITER ATTRIBUTED | Title: Around Harvard | 3/17/1994 | See Source »

Schnittke's rise to prominence is a tribute to his artistic integrity. His slight frame, perilous health (he has suffered two strokes and a heart attack) and diffident demeanor mask a revolutionary sensibility. As an iconoclast in a country of enforced artistic conformity, Schnittke represented for many of his Soviet countrymen a kind of artistic glasnost long before Gorbachev made it permissible. Stylistically unpredictable and resolutely uncompromising -- there are no "Socialist Realist" elements in his music, no compositions celebrating factories at work or peasants at play -- Schnittke's music is fundamentally deconstructive. It uses the past as raw material...

Author: /time Magazine | Title: MUSIC: The Sound of Russian Fury | 3/14/1994 | See Source »

...women who play Irene and Sophie, Elena Safonova and Romane Bohringer make do quite well with the faces with which they have been endowed. Bohringer's expression is convincingly impenetrable and Safonova's face when singing on stage is the flexible mask of an actress. Safonova, however, portrays Irene too personably in her private life; she does not behave as contemptibly towards Sophie as her words suggest she should, and not content with her concert audience's attention, she arrogates foe herself too much of the film audience's allegiance somewhat, it does not significantly disturb the balance...

Author: By Bernie A. Meyler, | Title: Accompanist Sings, 'If Music Be the Fruit of Love, Play On' | 3/10/1994 | See Source »

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