Word: best
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Dates: during 1950-1959
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...provide a happy ending; but it could easily have been worse, and so could Silvana Mangano. Jo Van Fleet is first-rate, and Tony Perkins, a skillful young man who has gained his craft so easily that he may be in danger of losing his art, does the best work of his brief screen career. Chief credit belongs to the director, France's René Clement (Forbidden Games, Gervaise). He has done some of the vulgar things that the bankers believe the mass audience requires, but he has also been honestly concerned to preserve the passionate spirit...
...merit of the new anthology, edited by TV Producer Gene Feldman, 37, and Literary Agent Max Gartenberg, 32, is that it answers this question better collectively than any one of the semi-articulate Beats and Angries has done on his own. The editors have culled the best from both schools (the U.S.'s Jack Kerouac, Allen Ginsberg, Clellon Holmes; Britain's Kingsley Amis, John Wain, John Osborne) and leavened the lot with sharp-eyed critical commentaries from both sides of the water. U.S. readers will find the Beat section more interesting, if only because it helps to illuminate...
...awful streets of man." Sometimes he "flips," i.e., goes mad. Allen Ginsberg, 32, the discount-house Whitman of the Beat Generation, begins his dithyrambic poem Howl (which the New York Times's Critic J. Donald Adams has suggested should be retitled Bleat) with the lines: "I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry...
...hipster is asocial-society's Underground Man-the Angry Young Man is eager to belong, feeling as he does that the welfare state has given him the credentials of a gentleman without the cash to be one. George Scott, a young Tory by conversion, puts this plaint best in a section of his autobiography Time and Place: "And so here we are, with our degrees and our posh education, our prideful positions in the public service, our ambitious names in print, trying to get on with the work brought home in the bulging briefcase, while the baby cries...
Author Heinrich is at his best as he describes the last-ditch stand of decimated German regiments against Russian divisions led by a hundred tanks. Towns burn, civilians are blown to bits, whole battalions are destroyed as they try to carry out orders from an incompetent division adjutant. Over the ghastly scene the snowy Carpathians loom like symbols of nature's indifference. But Heinrich neither needs nor uses literary symbolism. With a spare, brutal directness of language, he is able to show how men fight and die, convey the pressing of a trigger, the spreading stain of blood...