Word: slenderizing
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Dates: during 1960-1969
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...lived in the town where he grew up, Pine Grove, Pa. (pop. 2,267). He has written three books about the mores of "Unionville, Pa.," Pine Grove's fictional counterpart, and they are, for the most part, splendidly solid. His latest, alas, is not. The Aristocrat is slender and seemingly self-indulgent. It would be slick as well, were it not for Richter's imperturbable sincerity. He presents a caricature of an indomitable spinster straight from Southern romance as if she were a discovery, and his very...
...scene toward her. But despite Zita's undoubted appeal to dreamy young girls, an interesting young star and a grand old pro are not enough to support yet another tremulous version of the girl-in-a-woman's-body theme. Director Robert Enrico tries to lend his slender scenario some contemporary relevance by forcibly inserting a variety of fashionable camera techniques and casting a Negro Maoist. Though his color photography begins effectively-notably in Zita's terror-glazed recollections of the Spanish Civil War-it ends by stifling the film in a glut of self-consciousness. Annie...
Then a tall, slender man, with side-burns and a wide white hat, entered the discussion. Standing on the rim of the circle, he towered over most of the others. He was from New York, a member of the "Up Against the Wall, Motherfuckers," a rather militant SDS chapter on the lower cast side of New York City...
...dreary slot with a bang-up African number. The Jeff Beck Group now quickly marches in, Mick Waller at the drums, Jeff Beck prophetically brandishing his guitar. The singer Rod Stewart in burnt sienna flush velours pants that fit tight, an ornate silver cross hanging from his neck, has slender features and a bouffant hair-do and an impish grin. Ron Wood, on bass guitar, stakes out his area and the music flares like a newly struck match. Stewart sings "Rock me baby/Keep-on-rocking-me-baby/ Rock me all night long." Then slowly the lead guitar begins to mold the frantic throbbing sound...
Still, aside from the U.S. exhibit, there were numerous diversions. At the British pavilion, there was a dizzyingly impressive retrospective of Bridget Riley's op eyebinders, and the slender, stark sculptures of Phillip King-possibly the only man alive who has successfully united the minimal and the baroque. In the Japanese pavilion, the most promising young artist was clearly Jiro Takamatsu, 32, whose large-scale pastel platforms were built on weird exaggerations of Renaissance perspective, aimed at destroying the balance between real and imaginary worlds...