Word: starks
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...apocalyptic. A vision of crushed humanity, rapine, bestiality, murder and death. A man is hanging from a telephone pole, prisoners are being massacred, mothers wail over the bodies of their emaciated children. Reinforcing this vision of inferno are his colors: stark blacks, whites, umbers, reds, yellows, and ghastly phosphorescent greens of putrified corpses...
Film, written by Samuel Beckett, played both the Venice and New York fests. It is a stark, black-and-white portrait of an old man who awaits death in a small, lonely room. Seeking absolute solitude, he turns out his cat and dog, closes the curtains, covers the parrot cage and goldfish bowl with his coat, and blacks out the room's only mirror. Finally, he destroys the last reference to the world in which he has lived, a packet of old photographs. But he cannot escape himself, and as he lifts his eyes to the barren wall before...
This resolutely useless information is published in one of the year's most peculiar and fascinating books, an encyclopedia of logology assembled by a stark-raving logomaniac named Dmitri Alfred Borgmann, a Chicago actuary whose name, when its letters are transposed, spells "damn mad boring trifler." Boring he is not. Among his offerings...
Some Dream. Biggest bash of all came last week. To celebrate (or mourn) his impending return to Claremont Men's College, Producer (Funny Girl) Ray Stark's 21-year-old son Peter threw an "underground" cocktail party at The Scene, Manhattan's freest-wheeling nightclub. The guest list read like a society columnist's dream: Huntington Hartford, Mrs. Eric Javits, Wendy Vanderbilt, Melinda Moon, Freddie Guest (Winston's son) and his wife Stephanie (Joan Bennett's daughter), Maria Cooper (Gary's daughter), Liza Minnelli (Judy's daughter), Alexandra Cushing and Christina Paolozzi...
Milhaud conducted sitting down, but with burly authority. The score opened with a fast descending scale on the strings joined by the brassy blare of trumpets. Four stark downbeats on the kettle drums were omens of doom. Cracking fortissimos rapidly fading to a whispered diminuendo, an accumulation of dissonant agonized tones, a carefree pastoral legato phrase, and a lamenting melody on a reedy oboe vividly characterized the fateful day in Dallas and the President's oblivious ride to his death...