Word: bittersweet
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...Kenji Osano, one of the most powerful and controversial Japanese entrepreneurs, the results of December's national elections were bittersweet. As a close friend of, and chief political fund-raiser for, Prime Minister Kakuei Tanaka, Osano, 55, could bask in reflected glory. But as a free-wheeling entrepreneur who has done remarkably well under the long-governing Liberal Democratic Party, he had cause for concern about its losses in the Diet. He could also ponder the gains of Communists and Socialists, who intend to push harder their charges that he uses his personal and business relationship with Tanaka...
...song on Journey is unsatisfying Particular achievements, include "Open Up, Summertime," a jaunty ode to summer that wryly understates an oft-expressed continent: "Drop me in a sunny spot/I'd rather be hot than not," "Poem to Eat" combines Siemen's haunting, bittersweet music with an evocative Iyric by Pran Landesman; the singer hawks his verses: "Dine on a poem. Take one on home," "King Lear's Blues" tells of a man so broken-hearted he believes he is Lear, suicidal and yet paradoxically end, to have suffered, "Big city Traffic Jam" is a miniature concerto for piano and street...
...culmination, but as the story of a more optimistic age. Presidents were far-off heroes, almost royalty (even when, like Arthur, they were political hacks), and progress, however tarnished, meant the Bridge and not the Automated Battlefield. The scene is not only fascinating history, it is also great and bittersweet fun, reminding us of a time when we were less betrayed...
Herbert Gold, now 48, is sticking with the process to the bittersweet end. His story, Heart of the Artichoke (1951), with its rich portrait of the tough Cleveland grocer modeled on Gold's own father, is a classic of J.A. fiction. But by the time Gold recut his tale in Fathers (1967), the material had worn badly. In My Last Two Thousand Years, Gold drops all pretense of storytelling and joins the decolletage school of literary autobiography: revealing just enough to entice the reader into turning the pages, even after it becomes apparent that the author will never satisfactorily...
...more explicit than in the later film, and the screenplay is full of quotations from classic radical thinkers. But the most significant difference between the two films is in the conception of the central characters. Charles is a tried, contemplative figure whose personal protest is tainted with a bittersweet futility. By the time of La Salamandre, a more optimistic Tanner sees hope residing in the largely unconscious vitality of Rosemonde...