Word: roles
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Dates: during 1990-1999
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...that neither English or the Siamese he speaks in the film are well-known languages to him, his words are infused with a range of convincing emotions. Chow is the perfect man to help illustrate traditional Thai customs, sensibilities and statecraft. Without being overly dramatic, he pulls off the role of the wise, strong, kind, compassionate ruler. Perhaps more famous for his killer with a conscience action movies, Chow shows the depth of his acting abilities in this film. The image of him almost floating through a garden through rows upon rows of his 58 beloved children seems to justify...
...magenta of the horse's hooves, the reds and browns of the bloody bunny. The presence of the human heads in the upper right corner draws the viewer into an active engagement with the painting: as you observe the heads observing the fight, you become aware of your own role as an onlooker to the scene...
...role of Dickie Greenleaf lets Law be charming and cruel: he wears the part like a fine, sleek suit, just crumpled enough to seem lived-in. Even in one of those absurd '50s hats that wanna-beatniks had to sport, Law comes across as a little bit perfect, and a little bit vile. You can see why Tom gets all hot around the collar for Dickie's lifestyle, even if it comes with Gwyneth Paltrow as an accessory too sweetie-pie elegant for its own good. Of course, Mr. Ripley doesn't last too long as Dickie...
...newly expanded role of Peter Smith-Kingsley, a British playmate for Tom who enters in the late stages of the film, puts a whole new spin on Tom's movement into his new world. While the acting is uniformly fine, the prize of the hour goes to newcomer Jack Davenport, who brings this character to life with such exquisite sensitivity that he more than justifies the touchy business of Tom's gayness. I wouldn't be surprised if you hear the name Davenport again sometime soon. If Anthony Minghella weren't such a smart writer and director, the changed emphasis...
Although its humor is often dark, comedy does not escape this production. As the precociously naive and fashion-impaired George Aaronow, Juri Henley-Cohn ('00) delicately handles and balances a role which, had it been exaggerated, might have destroyed the naturalism of the piece. As Shelley Levene, an aging seller desperate for a comeback, Paul Monteleoni ('00) continually provides the play with energy and freshness. If ever this humorous vitality turns unwieldy, Monteleoni always manages to rein himself back in with a sudden change of tone or an expression that reestablishes realism in the scene. Although saddled with...