Word: archaically
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Dates: during 1960-1969
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RARELY in history have mankind's conflicts seemed quite so hard to resolve. Vast social changes are causing almost daily clashes that defy law and logic; from courts to legislatures, the old peace-keeping institutions are too often archaic and unresponsive. Blacks and whites, Arabs and Israelis, students and administrators, Frenchmen and Charles de Gaulle-all seem pitted against one another in postures of unmalleable pride...
Smoldering Hostility. The seeds of the student revolt have long existed in France's archaic system of higher education. Overcrowded to a point that stifles learning, lamentably short of professors, and managed by a mammoth but mediocre bureaucracy that resists change. French universities annually flunk some 20% of their 550,000 students while another 50% give up and quit. Resentment against the system erupted in the rioting...
Sobering Record. What makes Vienna so resistible? Doubtless, the fact that prospective directors are only too familiar with the job. They realize that inside, they would have to wrestle with stultifying traditionalism, intrigues, archaic business practices that date back to the time of Emperor Franz Josef, entrenched labor unions, and a recalcitrant Vienna Philharmonic. Outside, there is a formidable battery of critics, a musically conservative but demanding public, and an unpredictable Parliament that holds the purse strings...
...friend Pierre Bezukhov (played by Director Bondarchuk), who represent the two faces of the aristocracy. The outlines of the plot are familiar even to those nonreaders who saw the 1956 miniversion, with Audrey Hepburn, Mel Ferrer, and Henry Fonda. Andrei, a sophisticate and soldier, is unable to alter his archaic sensibilities and perishes in the war. Pierre, muddling through the chaos around him, does nothing right, but because he has the capacity to grow and change, he survives. Between the two flutters the lissome Natasha (Ludmila Savelyeva) as she grows from spritely adolescence to tragic womanhood...
...should confuse DeMille with art, but Samson and Delilah comes closest of all his films to fitting normal standards of taste. For once he departs from the archaic film-making conventions which mark his other work. Technically, The Ten Commandments is cruder than Birth of a Nation, but Samson and Delilah looks comparatively modern. DeMille's camera moves more than usual, and often beautifully. He stages Delilah's discovery of Samson's blindness with real cinematic imagination; the camera follows Samson turning the millstone as he passes by her, completely oblivious to her seductive presence. The color, while no better...