^
+ Follow ENGLISHMAN CHRISTIAN BALE Tag
Array
(
    [results] => Array
        (
            [0] => Array
                (
                    [ArticleID] => 94228
                    [Title] => Sloppy seconds
                    [Summary] => During the opening credits to Hannibal, director Ridley Scott’s long-awaited follow-up to The Silence of the Lambs, a piece of music plays: it’s the "Aria" to Bach’s Goldberg Variations, performed by Glenn Gould. But this is not the earlier, more spry version recorded by Gould in his youth; it’s the later, longer version, recorded in his 40s: tentative, hesistant, full of stops and starts signifying an older, more meditative mind at work.

[DatePublished] => 2001-03-20 00:00:00 [ColumnID] => 133272 [Focus] => 0 [AuthorID] => 1804693 [AuthorName] => Scott R. Garceau [SectionName] => Entertainment [SectionUrl] => entertainment [URL] => ) ) )
ENGLISHMAN CHRISTIAN BALE
Array
(
    [results] => Array
        (
            [0] => Array
                (
                    [ArticleID] => 94228
                    [Title] => Sloppy seconds
                    [Summary] => During the opening credits to Hannibal, director Ridley Scott’s long-awaited follow-up to The Silence of the Lambs, a piece of music plays: it’s the "Aria" to Bach’s Goldberg Variations, performed by Glenn Gould. But this is not the earlier, more spry version recorded by Gould in his youth; it’s the later, longer version, recorded in his 40s: tentative, hesistant, full of stops and starts signifying an older, more meditative mind at work.

[DatePublished] => 2001-03-20 00:00:00 [ColumnID] => 133272 [Focus] => 0 [AuthorID] => 1804693 [AuthorName] => Scott R. Garceau [SectionName] => Entertainment [SectionUrl] => entertainment [URL] => ) ) )
abtest
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