MAKEUP BASE REVIEW - MAKEUP BASE


MAKEUP BASE REVIEW - BENEFIT COSMETICS WHOLESALE.



Makeup Base Review





makeup base review






    makeup
  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance

  • The composition or constitution of something

  • an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"

  • cosmetics applied to the face to improve or change your appearance

  • The combination of qualities that form a person's temperament

  • constitution: the way in which someone or something is composed





    review
  • A formal assessment or examination of something with the possibility or intention of instituting change if necessary

  • A critical appraisal of a book, play, movie, exhibition, etc., published in a newspaper or magazine

  • A periodical publication with critical articles on current events, the arts, etc

  • reappraisal: a new appraisal or evaluation

  • look at again; examine again; "let's review your situation"

  • an essay or article that gives a critical evaluation (as of a book or play)





    base
  • The end at which a part or organ is attached to the trunk or main part

  • installation from which a military force initiates operations; "the attack wiped out our forward bases"

  • The lowest part or edge of something, esp. the part on which it rests or is supported

  • basal: serving as or forming a base; "the painter applied a base coat followed by two finishing coats"

  • The part of a column between the shaft and pedestal or pavement

  • establish: use as a basis for; found on; "base a claim on some observation"











W. C. Fields and Me




W. C. Fields and Me





In his 1937 review of W.C. Fields in "Poppy," Graham Greene wrote "To watch Mr. Fields, as Dickensian as anything Dickens ever wrote, is a form of escape for poor human creatures . . . who are haunted by pity, by fear, by our sense of right and wrong . . . by conscience. . ." This prize of escape is the major thing missing from the dreadful new film "W. C. Fields and Me." It holds up a wax dummy of a character intended to represent the great misanthropic comedian and expects us to feel compassion but only traps us in embarrassment.
"W. C. Fields and Me," which opened yesterday at three theaters, is based on the memoir written by Carlotta Monti, Fields's mistress for the last 14 years of his life. The book, written with Cy Rice, is gushy, foolish and self-serving, which is probably understandable.
To expect it to be anything else, I suppose, would be to look for the definitive analysis of the Cuban missile crisis in a memoir by a White House cook. Yet the movie needn't have been quite as brainless as it is. That took work.
First off, Bob Merrill, who has written either the lyrics or music (sometimes both) for some good Broadway shows, including "New Girl in Town," has supplied a screenplay that originally may have been meant as the outline for a musical. It exhibits a tell-tale disregard for facts and the compulsion to make a dramatically shapeless life fit into a two-act form. The mind that attends to this sort of hack business would cast Raquel Welsh in the title role of "The Life and Loves of Bliss Carman."
Then there's Arthur Hiller, a director who makes intelligent films when the material is right ("Hospital," "The Americanization of Emily") and terrible ones when the writers fail.
Most prominent in the mess is Rod Steiger, who has been got up in a false nose and dyed hair in a way meant to make him look like Fields, which he does (sort of though he reminds me much more of the way Fields's one-time co-star, Mae West, looked in "Myra Breckinridge." The exterior is pure plastic, though occasionally one sees a sign of individual life deep inside the two holes that have been cut out for the eyes.
The film opens in the 1920's in New York, when Fields was already a big Ziegfeld star, and closes with his death in California in 1946, at the age of 67, when he had become one of Hollywood's most celebrated stars. In between these dates "W.C. Fields and Me" attempts to dramatize—with no conviction—the complex, witty actor-writer as if he were one of his own ill-tempered, suspicious heroes with a suddenly discovered heart of gold.
Mr. Steiger reads all of his lines with the monotonous sing-song manner used by third-rate nightclub comics doing Fields imitations. He also speaks most of them out of the corner of his mouth as if he'd had a stroke.
Valerie Perrine, a spectacularly beautiful woman who may also be a good actress, plays Miss Monti, who, in this film anyway, is an unconvincing combination of intelligence, patience, fidelity, sportsmanship and masochism. Perhaps because the visual style of the entire film is more or less mortuous, Jack Cassidy, who plays a flyweight John Barrymore, wears the kind of makeup that makes him look dead several reels before he actually dies.
The movie contains two halfway funny moments: a scene in which we see Fields taking a broom to a swan that has trespassed his Hollywood lawn, and the sight of Baby Harold (based on Baby Leroy, one of Fields's toughest costars) staggering out of his set-side dressing room after Fields has spiked the kid's orange juice with gin.

W.C. FIELDS AND ME, directed by Arthur Hiller; screenplay by Bob Merrill, based on the book by Carlotta Monti with Cy Rice; produced by Jay Weston; director of photography, David M. Walsh; editor, John C. Howard; music, Henry Mancini; distributed by Universal Pictures. Running time: 110 minutes. At the Criterion Theater, Broadway at 45th Street, Baronet Theater, 34th Street near Second Avenue. This film has been rated PG.
W.C. Fields . . . . . Rod Steiger
Carlotta . . . . . Valerie Perrine
Bannerman . . . . . John Marley
John Barrymore . . . . . Jack Cassidy
Melody . . . . . Bernardette Peters
Dockstedter . . . . . Dana Elcar
Zlegfeld . . . . . Paul Stewart
Ludwig . . . . . Billy Barty
La Cava . . . . . Allan Arbus
Chasen . . . . . Milt Kamen
Gene Fowler . . . . . Louis Zorich
Claude . . . . . Andrew Parks
Edward . . . . . Paul Mantee

VINCENT CANBY New York Times 1 April 1976













Star Trek 6 The Undiscovered Country DSC 8927




Star Trek 6 The  Undiscovered Country DSC 8927





Star Trek VI: The Undiscovered Country is the sixth feature film in the Star Trek science fiction franchise. It was released in 1991 by Paramount Pictures, and is the last of the Star Trek films to include the entire main cast of the 1960s Star Trek television series. It was directed by Nicholas Meyer and written by Meyer with Denny Martin Flinn. After an ecological disaster leads to two longstanding enemies—the Federation and the Klingon Empire—brokering a tenuous truce, the crew of the USS Enterprise-A must prevent war from breaking out on the eve of universal peace.

The Undiscovered Country was initially planned as a prequel to the original series, with younger actors portraying the crew of the Enterprise while attending Starfleet Academy, but the idea was discarded because of negative reaction from the cast and the fans. Faced with producing a new film in time for Star Trek's 25th anniversary, Flinn and Meyer, the director of Star Trek II: The Wrath of Khan, wrote a script based on a suggestion from Leonard Nimoy about what would happen if "the wall came down in space", touching on the contemporary events of the Cold War.

Principal photography took place between April and September 1991. The production budget was smaller than anticipated because of the critical and commercial failure of Star Trek V: The Final Frontier. Because of a lack of sound stage space on the Paramount Pictures lots, many scenes were filmed around Hollywood. Meyer and cinematographer Hiro Narita aimed for a darker and more dramatic mood, subtly altering redresses of sets originally used for the television series Star Trek: The Next Generation. Producer Steven-Charles Jaffe led a second unit that filmed on an Alaskan glacier that stood in for an alien gulag. Cliff Eidelman produced the film's score, which is intentionally darker than any previous Star Trek offering.

The film was released in North America on December 6, 1991. The Undiscovered Country garnered positive reviews, with publications praising the lighthearted acting and tongue-in-cheek references. The film performed strongly at the box office; it posted the largest opening weekend gross of the series before going on to earn $96,888,996 worldwide. The film earned two Academy Award nominations, for Best Makeup and Best Sound Effects, and is the only Star Trek movie to win a Saturn Award for Best Science Fiction Film. A special collectors' edition DVD version of the film was released in 2004, for which Meyer made minor alterations to his cut of the movie. Star Trek creator Gene Roddenberry died shortly before the movie's premiere.










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