Word: verbalized
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...revenge. I've turned down over 30 people who wanted in for the same reason as Charles Bronson in Death Wish-because somebody in their family has been attacked." Recruits are first tested for reflexes and ability to go without sleep, then for tolerance of verbal abuse, as Sliwa calls them "nigger" or "spik," the least of the taunts they may get in the subway. Nearly every volunteer has been excited by The Warriors, a film in which street gangs plot to take over New York. Among the fired-up who have been accepted are ten whites, six blacks...
...opportunity to make yet another appeal for passage, saying that the industry is "already awash" with profits. The occasionally populist President shows a deep distrust of large oil companies, and they are perfect targets for a bit of demagoguery because much of the public dislikes them too. Carter's verbal overkill is also intended to deflect public fury from the White House when gasoline prices, which are already rising sharply, go up even more as a result of decontrol...
Take simply the matter of visual style. His early films had a good workman's lack of clutter, and since Allen was almost as fond of visual parody as he was of the verbal kind, they showed an ability to ape the masters. Beginning with Sleeper (1973), a conscious coherence, a striving for a certain elegance came into his films, growing through Love and Death (1975), becoming lush and nicely jumbled in Annie Hall (1977), turning austere to the point of being mannered in Interiors...
British wit also characterizes the Dunster House production of Shaw's Heartbreak House. Though not lacking in Shavian verbal cleverness, this play is atypical Shaw in certain ways. It abounds in action, making it less talkative than Man and Superman or Saint Joan. The characters are more three-dimensional and very finely drawn; they espouse philosophies, instead of embodying them, as is so often the case with Shavian types. Often, in fact, they seem to echo characters of other plays by Shaw, only they turn out not to be what they seem. This motif runs through Heartbreak House...
...Romeo and Juliet must lie at the feet of Hughes and Shannon Gaughan as Juliet. Neither goes beyond the broad label of 'youth' to find some more specific trait in their characters to highlight; neither is terribly graceful on stage; and both annoyingly exploit some vocal and some non-verbal mannerisms...