Word: boorishness
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...been crowding into our pew at church." As a child he worshiped his mother and despised his father; naturally his middle-aged son (Gene Hackman) feels the same way. The two clash openly-and obviously-when Gene's garden-club-variety mother dies. Sensitive son mourns while boorish father frets over casket prices and answers sympathy notes with the oft-told tale of his fiscal success in the brass business. Soon the daughter (Estelle Parsons), banished to Chicago for marrying a Jew, arrives for the funeral and winds up giving Gene a lecture on castrating fathers. After much simplistic...
...That the photography and sound are of markedly poor quality, that the editing resorts to tricks (unspeakable in documentaries) like pixillation, and that the whole affair is packaged like a landmark of cinema verite, all pale before the movie's ugliest flaw: its politics are asinine. The interviewers are boorish, sexist, and reactionary, and the resulting sub-screen attitudes toward militancy, electoral politics, and violent revolution which emerge are at their very best a parody of post-teenybopper politics...
With regard to the black people, or vis a vis the history of manufacturing in America, or the collection of American antiques, or an interest in American art, one might feel a dillettante, or boorish. Listen to any knowledgeable person--especially a European--and he will tell you to study European painting, the fate of the Jews, Florentine curios, etc., if you would find your heritage...
...candidate's show all the way. He baited the demonstrators, he needled them, he laughed at them. They bawled even when he said innocuous things; they were willing butts for his jokes. They were crude and boorish, doing their little bit to make the candidate look good...
There is no mistaking Bulgakov's target in The Heart of a Dog: it is the boorish, overweening, ignorant, slogan-stuffed Soviet proletarian. Bulgakov wrote this short, scornful novel in 1925, drawing on his inexhaustible supply of contempt. Its method is the "fantastic realism" he was to use later in The Master and Margarita. Matter-of-fact becomes matter-of-fantasy; madly grotesque events are described in the language of naturalism...