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Musicals appeal to Evelyn's escapism and dreaminess, and remind her--even when she's throwing herself at this world--that there's something different out there.
Perhaps Bacher proposed that when we gaze at tall buildings and handheld screens, our direct experience of the world gets mediated by digital light and we are denied something of the "real"--and yet the real has become spectacle, its dreaminess no less an authentic way of looking.
The film as a whole has a romantic dreaminess to it, which demands that you follow its beautiful cinematography and flowing editing on its magical and romantic journey.
The social divisions, the boredom, the dances, the irrepressible awkwardness and the irrational dreaminess of high school students never before seemed so accessible, and so neatly packaged with a perfect soundtrack -- even if their scope was rather limited to a particular set of middle-class students.
With a sound locked into that Liverpudlian tradition of melancholic dreaminess, Gulf have the UK record industry in the palm of their hands.
Readers who enjoy the fantastical or pseudo mythology of Melina Marchetta's Finnikin of the Rock (Candlewick, 2010/VOYA April 2010) and the dreaminess of Tom McNeal's Far Far Away (Random House, 2013/VOYA August 2013) will enjoy this unique tale.
The leprechaun standing on the key is the intuition of reality amidst the dreaminess of it all - a reminder to everyone that while dreaming is heavily encouraged, hard work is the ultimate key to attaining success.
There's an overall dreaminess in the music that The Black Keys have made on their new album that may not fit in well with what one has been used to hearing from the band.
In this well-shaped production by Terry Hands made with lyrical precision for the esteemed ClwydTheatr Cymru, emotions are never quite pinned down but float from character to character with a subtle dreaminess.
From the honky tonk piano of Shuffle and dreaminess of How Can You Swallow So Much Sleep to the calypso feel of early single It's Always Like This, there was not a single filler track.
But the dreaminess tends to deflate when reality sets in: Heightened regulatory scrutiny, legislative complications and the ability to pay for it all.
The cinematography by Sean Bobbitt (The Place Beyond The Pines) sometimes feels too colourfully crisp for such depressing 1840s' subject matter in the pre-Civil War era, but it later adds a Terrence Malick-style, nerve-shredding mixture of dreaminess and extreme horror as the camera takes over from the deep sense of foreboding signalled earlier by Hans Zimmer's score.