Word: scaling
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Dates: during 1970-1970
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...tinge the edges of characters' faces and collect in pools on the Essenbeck mansion's parquet floor. God knows the bedroom scene between power-crazed Ingrid Thulin and her contrite Bogarde employs dialogue no real person ever uttered. Visconti offers us human passions and errors on a grander scale than the realistic. Thus his blocking of scenes, which is heavy and slow, focuses dramatic energy inward onto the relationships of the Essenbeck family. Visconti's mise-en-scene is equally grandiose, incorporating massive interiors and immense spaces. It helps integrate the characters into one pattern of contrary emotional drives...
...only be judged on these grounds: whether it creates a world that coheres through its own formal order. As it happens, that is the film's strength. It's a mistake to say that it should have been faster-paced, tighter, subtler, or more inventive. Its weight and scale are such that tampering with its speed, or adding inessential background incidents for relief, would add nothing to the essential structure and beauty of the film...
...getting close to the blow-off, the big number. Masters begins working up to more spectacular stunts. He's found this one guy, Dan, who's a prime subject. Dan is getting right up there on the old hypnotic scale. Masters pats him on the back and says, "You're a beauty, Dan." in this voice that lets you know that he's seen a lot of them. More than eight million people, you realize, have been zapped by The World's Greatest in his twenty-year career in Show Biz-he's seen a lot and he knows...
Despite such shortcomings, the President's message highlights the complex issues that Americans now must confront. At the very least, it should serve to tell skeptics that environmental problems are real, and will not just go away. If Congress responds, the U.S. can begin coherent action on a scale that few dreamed possible even a month...
...carved body of the crucified Christ that it is thought to have originally supported. By a fortuitous twist of fate, Medievalist Florens Deuchler, who organized the exhibition, noticed the Christ figure in an Oslo museum last summer, remembered the Metropolitan's cross, and realized from their similar scale, design and delicate coloring that the two were probably at one time part of the same work. The Romanesque Christ was inhumanly serene; the later Gothic Christ was often all too humanly agonized. This 1200 Christ has both serenity and humanity, and thus sets the theme for the show...