Word: mirrors
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...demonstrated by Visconti's previous excursions through the darker realms of the German soul (The Damned, Death in Venice), decay in some form or other is the only thing that really interests him. It is thus natural for him to see Ludwig's molars as the mirror of his soul, while ignoring the fact that quite another side of the royal character was expressed in such glorious excesses as the romantic Schloss Neuschwanstein, the rococo Linderhof, and the unfinished imitation of Versailles, Schloss Herrenchiemsee. Ludwig's edifice complex may nearly have bankrupted his kingdom and cost...
...train that morning he had tried to read the new, compact, modern Mail-Express-Mirror, edited by Jean-Jacques Servan-Schreiber, but had soon turned to his customary European Times. The headlines, on this sunny day in 1984, were depressingly familiar. Europe's trade gap was still widening (there was another warning from Brussels that Europe must "export or die"). Enoch Powell, a sprightly 72-year-old eccentric who lived in the South of France, had made a speech in Nice warning, yet again, that Europe would collapse unless something was done about the rising tide of Japanese immigration...
...grand tradition of Cole Porter, Noel Coward and Lorenz Hart. There are three standout numbers. One is Liaisons (Gingold), a lament that courtesans are not the elegantly larcenous creatures they used to be. Equally arresting are Send In the Clowns (Johns), a rueful gaze into the cracked mirror of the middle years, and The Miller's Son (Jamin-Bartlett), a gath-er-ye-rosebuds-while-ye-may paean to the flesh...
Your Show of Shows of the 1950s is remembered, along with Ernie Kovacs' excursions beyond the pale, as the best and funniest work ever done for TV. Yet memory is a fun-house mirror There is always a nagging doubt when gazing into it: Were things really that good? Yes, they certainly were, as this mini-anthology resoundingly proves...
What situation could be more conducive to the appearance-reality theme? Not only do we have a play within a play, which consists of everybody dressing up to fool Henry while he acts a part to fool them; we also get filled to the gills with more mirror imagery than can decently fit into a single play. The throne room is decorated with two life-sized portraits which are supposed to represent mirror images of Henry IV and Matilde of Tuscany, the woman he loves, and their presence stimulates a predictable discussion about the reality of reflections. Much is made...