Word: almost
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Dates: during 1970-1979
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Others continued to feel the magnetism of Nazism. As Lifton explains, in an almost defensively clinical tone: "Often the former Nazi doctors seem to have two separate and functional selves-a conventional conservative postwar German attitude toward Nazism and its 'excesses' and a nostalgia for the excitement, power and sense of purpose of the Nazi days. For many, that intensity is so great that the Nazi belief system has not been given...
Among the other marvels is Merrill's mastery of forms, so skillful as to pass by almost unnoticed. Humans speak in a supple, casually rhymed iambic pentameter. A hurricane strikes the East Coast...
...down and the gauge's needle sinking like the setting sun toward Empty. If at last a gas line appears, winding up the road a quarter of a mile to an oasis of heraldic light, the effect is surreal: the machines in their idling file give off an almost animal heat, the drivers waiting inside them feeling anxious, vaguely betrayed (by Detroit, Carter, Schlesinger, OPEC, history) and sometimes alarmingly close to the Hobbesian state of nature...
Photographically, Manhattan is a film in which almost every shot is designed to expand its narrative meaning through pictorial composition. Many sequences contain shots of memorable visual beauty-never for their own sake, because the composition of the images is always subordinated to the pictorial event. The conversation between Allen and Diane Keaton in the planetarium is saturated with chiaroscuro density which can challenge, graphically, the famous "Aquarium Sequence" in Welles' Lady from Shanghai. The function of darkness and use of galactical phenomena which often dominate the stationary frame, add considerably to the philosophical implications of the Allen-Keaton interchange...
...within a shot, the characteristic rhythm of New York life emerges on the screen through the order and juxtaposition of the sequences within the narrative flow. The principle of their organization is contrapuntal: a predominantly brightly lit sequence is succeeded by a dark one, while a long take is almost invariably replaced by a sequence composed of many edited shots (principally of characters conversing in close-ups). This concept of the film as a juxtaposition of visual events unforcefully related to each other is in accord with the modern tendency in art to conform to an open structure rather than...