2011年03月29日

ハリウッドの魅惑の光り輝く頂点


A Lustrous Pinnacle of Hollywood Glamour
( New York Times Japan Times )

Elizabeth Taylor, the actress who dazzled generations of moviegoers with her stunning beauty and whose name was synonymous with Hollywood glamour, died on Wednesday in Los Angeles. She was 79.

In a world of flickering images, Elizabeth Taylor was a constant star. First appearing on screen at age 10, she grew up there, never passing through an awkward age. It was one quick leap from “National Velvet” to “A Place in the Sun” and from there to “Cleopatra,” as she was
indelibly transformed from a vulnerable child actress into a voluptuous film queen.

There was more than a touch of Ms. Taylor herself in the roles she played. She acted with the magnet of her personality. Although she could alter her look for a part ? putting on weight for Martha in “Virginia Woolf” or wearing elaborate period costumes -- she was not a chameleon, assuming the coloration of a character. Instead she would bring the character closer to herself. For her, acting was “purely intuitive.” As she said, “What I try to do is to give the maximum emotional effect with the minimum of
visual movement.”

Sometimes her film roles seemed to be a mirror image of her life. More than most movie stars, she seemed to exist in the public domain. She was pursued by paparazzi and denounced by the Vatican. But behind the seemingly scandalous behavior was a woman with a clear sense of morality: she habitually married her lovers. People watched and counted, with
vicarious pleasure, as she became Elizabeth Taylor Hilton Wilding Todd Fisher Burton Burton Warner Fortensky -- enough marriages to certify her career as a serial wife. Asked why she married so often, she said, in an assumed drawl: “I don’t know, honey. It sure beats the hell out of me.”


【 まずは準備運動 】

・dazzle 目をくらます、まぶしくする
・indelibly 消えないように、永久に.(delete:削除する、消す)
・voluptuous 肉感的な、色っぽい
・coloration 着色、配色、(生物の)天然色
・intuitive 直観的な(名詞:intuition)
・vicarious (他人の経験を)想像して感じる、代理をする
・drawl ものうげに言う、母音を引き延ばして言う


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2011年01月19日

ピーター・イエーツ監督、死去


Peter Yates, Filmmaker, Is Dead at 81
( New York Times )

Peter Yates, a British-born director whose best-known films were
well-observed tales of Americana, including the car-chase cop thriller “Bullitt” and the coming-of-age, bike-race comedy “Breaking Away,”died on Sunday in London. He was 81.

Mr. Yates was nominated for two Academy Awards for directing, for
“Breaking Away” (1979), an underdog-triumphs story in which four local teenagers in Bloomington, Ind., take on a privileged team of bicycle
racers from Indiana University; and for “The Dresser” (1983), an
adaptation of Ronald Harwood’s play about an aging theater actor and his long-serving assistant, which starred Albert Finney and Tom Courtenay. (Both films, which Mr. Yates also produced, were nominated for best
picture as well.)

Still, Mr. Yates’s reputation probably rests most securely on “Bullitt” (1968), his first American film - and indeed, on one particular scene, an extended car chase that instantly became a classic. The film stars Steve McQueen as a conscience-stricken lone-wolf San Francisco detective, and the chase begins with him behind the wheel of a Ford Mustang in a slow, cat-and-mouse pursuit of killers who were in a Dodge Charger. It escalates into high-speed screeches and thuds on city streets and ends in a fiery blast on a highway.


【 まずは準備運動 】

・triumph 大勝利、大成功
・adaptation 適合、適応、翻案、脚色
・reputation 評判、名声
・ rest 休む、支えられている
・pursuit 追跡(動詞:pursue)


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2010年10月04日

『俺たちに明日はない』のアーサー・ペン監督、死去


Arthur Penn, Director of ‘Bonnie and Clyde,’ Dies
( New York Times )

Arthur Penn, the stage, television and motion picture director whose
revolutionary treatment of sex and violence in the 1967 film “Bonnie and Clyde” transformed the American film industry, died on Tuesday night at his home in Manhattan, the day after he turned 88.

Mr. Penn’s direction may have also changed American history. He advised Senator John F. Kennedy during his watershed television debates with
Richard M. Nixon in 1960 (and directed the broadcast of the third
debate). Mr. Penn’s instructions to Kennedy ― to look directly into the camera and keep his responses brief and pithy ― helped give Kennedy an aura of confidence and calm that created a vivid contrast to Nixon, his more experienced but less telegenic Republican rival.

But it was as a film director that Mr. Penn left his mark on American
culture, most indelibly with “Bonnie and Clyde.”

Not only was the film sexually explicit in ways unseen in Hollywood since the imposition of the Production Code in 1934 ― when Bonnie stroked
Clyde’s gun, the symbolism was unmistakable ― it was violent in ways that had never been seen before. Audiences gasped when a comic bank
robbery climaxed with Clyde’s shooting a bank teller in the face, and were stunned when this attractive outlaw couple died in a torrent of bullets, their bodies twitching in slow motion as their clothes turned red with blood.


【 まずは準備運動 】

・pithy (文体・文章など)力強い、きびきびした
・confidence 信用、自信
・calm 穏やかな、落ち着いた(様子)
・imposition 課すること、負わせること(動詞:impose)
・gasp はっと息をのむ、あえぐ
・robbery 泥棒、強盗(rob:奪う)


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2010年09月03日

モーツァルトの死、その終わりなきコーダ


After Mozart’s Death, an Endless Coda
( New York Times )

Direct medical evidence? None. Autopsy? Not performed. Medical records? Nowhere to be found. Corpse? Disappeared.

Yet according to a recent article in an academic journal, researchers have posited at least 118 causes of death for Wolfgang Amadeus Mozart.

A modest industry of medical speculation has grown up around the subject, evidence of our fascination with what cut down great creative artists in history. In Mozart’s case published speculation began within a month of his death in 1791, and musicologists, physicians and medical scholars have regularly joined the fray ever since.

All this gives rise to a question: Why does the subject arouse such intense interest? Earlier this year, for example, a researcher at Mount Sinai School of Medicine, after testing what are believed to be shards of Beethoven’s skull, called into question the theory that he died of lead poisoning.

The very idea that remarkable individuals who gave life so much beauty could be brought down by ordinary physical ailments, particularly diseases that are now easily treatable, is inherently fascinating. That perception makes people of genius seem closer to us.


【 まずは準備運動 】

・posit 仮定する
・speculation 思索、推測
・fray 論争、喧嘩
・shard 破片
・inherently 生得的に、本質的に
・perception 知覚、認識(動詞:perceive)


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2010年06月02日

ハリウッドの反逆児、デニス・ホッパー死す


Dennis Hopper, 74, Hollywood Rebel, Dies
( New York Times )

Dennis Hopper, whose portrayals of drug-addled, often deranged misfits in the landmark films “Easy Rider,” “Apocalypse Now” and “Blue Velvet” drew on his early out-of-control experiences as part of a new generation of Hollywood rebel, died Saturday at his home in Venice, Calif. He was 74.

Mr. Hopper, who said he stopped drinking and using drugs in the mid-1980s, followed that change with a tireless phase of his career in which he
claimed to have turned down no parts. His credits include no fewer than six films released in 2008 and at least 25 over the past 10 years.

On March 26, surrounded by friends like Mr. Nicholson and David Lynch, the director of “Blue Velvet,” Mr. Hopper received a star on the Hollywood Walk of Fame. Looking frail, he began his brief acceptance speech by sardonically thanking the paparazzi for supposedly distracting him and causing him to lose his balance and fall the day before. He continued, “Everyone here today that I’ve invited ― and obviously some that I
haven’t invited ― have enriched my life tremendously.”


【 まずは準備運動 】

・addle 混乱させる、(卵などを)腐らせる
・misfit 環境にうまく順応できない人
・tireless 疲れを知らない,精力的な(tire:疲れる・させる)
・sardonically 冷笑的に、皮肉に
・supposedly 推定では〜と言われる、思われる


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