But it's not just Colonna's poetic voice that this biography brings alive.
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That's the American alchemy that Ken Burns brings alive in this latest chapter of his American epic.
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When we think about them as physical spaces, it brings alive how human beings actually relate to one another.
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In A FLORENCE DIARY (House of Anansi, $16.95), a delectable time capsule, she brings alive the liberation, luck and drama of those heady Italian days.
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"The water collected and flowed down the paths worn by hundreds of years of footsteps" sharply renders 17th-century Angkor Wat, just as a smell of "rotting sweetness and hot manure" brings alive the earthy realities of preindustrial Manhattan.
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A tone of defensive cynicism, of macho boredom, brings alive the costs, on both sides of the conflict, of the routinized violence: Every once in a while there'd be a midnight run through a village just to light it up.
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The skilled novelist here brings alive not just the political turmoil that surrounded Shostakovich, but his love for his wives, his love for his children, a vivid counterpoint of artistic freedom and political oppression—the eloquent conjuring of one glass of vodka clinking against another.
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The reader is bound to be conscious of a hidden ballast of research, the seven-eighths of the iceberg without which the thing would founder, but so deft is the writing that you forget this, simply appreciating the meticulous background that brings alive a time and a place.
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Siyaasat brings alive the decadent lifestyle, architecture, art, and stories of the Mughal royalty.
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You could hardly catch a dull moment here. He takes us through the nooks and corners of North Madras with his live narration.Cinematographer Farooq does a great job with his lighting and composition and brings alive the milieu of the movie. Music is functional.
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The dialogues, penned by Guruprasad, being very witty and sharp often reflect the society's dark sides. The non linear screenplay offers a refreshing film watching experience. The lead character Manjunatha is played by Jaggesh. Ashok V Raman’s lens brings alive Guru’s script, his camera work gathers attention for his close ups.
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Mera Sasural is an Indian television drama series that aired on Sahara One channel in 2008. The story is of two young women, Heer and Goldie, in their in-laws' houses and brings alive the struggles of a woman in her attempt to strike a balance between the world that she is born into and the one that she enters the moment she is married.
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She is known for her Renshai series, which provides a different perspective on traditional Norse mythology. An epic tale of a battle between good vs evil vs neutrality. It brings alive Norse mythology. The story largely centers around the survivors from a tribe of master swordsmen that are nearly decimated in a coordinated attack by the majority of their neighboring countries, and a few other interesting characters.
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The film received overall positive critical response, particularly regarding the lead artists' performances. Sriram Iyer of Rediff gave the film three out of five stars, lauding it as a "remarkable effort" and claiming that Ameer "successfully brings alive the feel of the pastures". The reviewer appreciated the cast and crew, describing Karthi's performance as "excellent", while citing that Saravanan "excels" and Priyamani had done "a fairly good job in her deglamourised role". A Behindwoods critic wrote that Paruthiveeran "lives up to all that it promised and more".
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Co-starring alongside Silambarasan, Varalaxmi won critical acclaim for her performance. Rediff.com noted she was the "scene stealer" and added "she comes across as a genuine, warm person, able and willing to accept those around her for themselves, and rattles off her dialogues with such spontaneity and charm that she wins you over right away". Likewise, a critic from Sify.com wrote she "is the big surprise here as she makes a promising debut and brings alive her character with not just those smart lines, but with the kind of confidence and candour".
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VOYA pointed out that this book is "probably not one that teens will pick up without coaxing". The audiobook was criticized by School Library Journal, who states that "narrator Danielle Ferland moves from character to character effortlessly, but without much deviation in voice inflections for the secondary players". On the other hand, AudioFile praised the work, saying it "brings alive a unique young person and her rare gift". A Mango-Shaped Space has been praised by several authors, including Paula Danziger, Karen Cushman, Meg Cabot, and Judy Blume.
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Time and Chance is about King Henry II, Eleanor of Aquitaine, and the rift between Henry II and Thomas Becket. Time and Chance is the sequel to Penman's When Christ and His Saints Slept and spans a 15-year period from 1156 to 1171. Penman brings alive for the reader the period as King Henry II becomes increasingly estranged from his wife Eleanor of Aquitaine (although Eleanor and Henry have eight children during the eight years), and from his close friend and adviser Thomas Becket. King Henry II's decision to elevate Becket to Archbishop of Canterbury is a fulcrum for discord between Henry and Eleanor.
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Along with Madison, powerful men such as Roger Sherman, Oliver Ellsworth, Elbridge Gerry, and Robert Morris often clashed, sometimes savagely, but ultimately they forged a consensus that gave strength and credibility to the new government. Bordewich brings alive the passions and conflicts of these extraordinary men, who, along with President George Washington and Treasury Secretary Alexander Hamilton, breathed life into the Constitution. Bordewich immerses us in the dramatic debates over the Bill of Rights, the creation of the president's cabinet, the adoption of a new capitalist financial system, and the acrimonious argument over the new capital, among many other issues. Some of the issues the First Congress faced still challenge us: literal versus liberal interpretations of the Constitution, conflict between states' rights and federal power, protection of individual rights, and more.
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The vision is distant yet vivid, layered life- like and yet exquisitely poetic." Critic Raja Sen of Rediff gave the film a maximum of 5 stars and wrote: "Haider is one of the most powerful political films we've ever made, a bona-fide masterpiece that throbs with intensity and purpose". Writing for Mid Day, Shubha Shetty-Saha said "Vishal Bharadwaj brings alive the ecstasy, pain and passion of Hamlet on screen, he also reminds us of the harsh truth in our own backyard, the man-made mayhem in the God-made jannat [heaven] that is Kashmir". Faheem Ruhani for India Today praised the Even the oedipal theme between characters played by Shahid Kapoor and Tabu, summarizing his review as, "Haider may seem a bit sluggish in the first-half and slightly long.
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She collaborated closely with Ali to build her character and was challenged on effectively portraying Dhillon's exuberant personality without making it caricaturish. Jab We Met was received favourably by critics and became successful at the box office with global earnings of against a budget of . Jaspreet Pandohar of the BBC commented that the role required a mixture of naivety and spontaneity, and was impressed with Kapoor's effort. The critic Rajeev Masand labelled her the film's "biggest strength, as she brings alive her character with not just those smart lines, but with the kind of candor actors seldom invest in their work." Filmfare magazine featured it amongst the "Top 80 Iconic Performances" of Hindi cinema, and Kapoor was awarded the Filmfare Award for Best Actress and her second Screen Award.
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A brilliant initiative by Manjari Chaturvedi that is dedicated to work towards removing social stigmas associated with Courtesan, the Tawaifs, and thereby giving them much deserved respect and place as artists par excellence. "The Lost Songs and Dance of Courtesans - Gender discrimination in Arts and How it Shapes the Art for Future" is a project that archives and documents the lives and stories of the incredible women performers.[8] Manjari has undertaken an absolutely new work, it is a lot of research as it brings alive dance and stories of women who were stigmatised by the society for being performers both music and dance and in an unfortunate society ridden by gender discrimination were not even part of the documentation history of the performing arts. Hence it becomes imminent we tell their brilliant stories to the world and show their dance.
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The first section, which is itself the prologue describes the world of a pre-war Bucharest, as narrated by an aging, potentially dying, author while focusing on the improbable and explicitly impossible story of a homeless young man who serves as the stubborn center of progressively more absurd games of Russian Roulette which become progressively more peopled by the wealthy upper-crust of the capital. The second section brings alive a universe of children through a magical realist writing style that focuses upon a prepubescent messiah who has begun to lose his magical powers while working wonders for his young followers. Which has a famous scene that makes the reader feel voyeur into the world of Proust when the main character falls into "unbearable nostalgia" by virtue of a bright pink lighter. The third section is a bizarre exploration of gender boundaries and youthful angst narrated by a crestfallen young man who cross-dresses and goes down the road of suicide at the same time while overwhelmed by the memories of a highschool girlfriend.
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