Word: breakdowns
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Dates: during 1960-1969
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...third important event of Sunday night, however, was the boy's first breakdown. It was back in the room, with Paul. Neither of them had been tired, and they had sat up talking for a long time. The boy found himself a little nervous, restless, but uncertain why. Paul, 12 years older than him, was half a brother, half a father, and had comforted him. Suddenly, not knowing why, the boy had started to cry, out of loneliness, out of sadness, out of stored up emotions that he could not name: he had simply cried, in Paul's arms, saying...
This week, as he swears the awesome inaugural oath, Richard Nixon becomes the 37th President of a people still bewildered by a year of crises hauntingly reminiscent of those that preceded the Civil War and the Depression. As if verging on a national nervous breakdown, the U.S. in 1968 erupted in ghastly events: assassinations, black riots, student protests, rising crime. America faced a crisis of pluralism: warring groups and individuals refused to pay the price, whether in money or changed attitudes, that might broaden social justice. A decade that began with a quest for moral grandeur seemed to be ending...
...contracted to sell two houses to a local real estate agent, even though another office had proposed--albeit some time previously--to sell the houses to a neighborhood association. After tempers had flared, the officers of the association finally concluded that the entire episode had been caused by a breakdown in the internal and external communications of the University...
...Callan himself. Irresistibly attracted to a young private named Swanson (John Phillip Law), Callan follows him around town, grows jealous of Swanson's girl friend (Ludmila Mikael), and eventually reveals himself with what may become the screen's new cliche: a mouth-to-mouth, homosexual kiss. The breakdown follows as inevitably as taps follows lights...
Chekhov called The Sea Gull a comedy, but any traces of wit have been pretty well destroyed by Lumet's lumbering technique. The actors perform as if they were all on the verge of a nervous breakdown. Only David Warner as Konstantin and some of the supporting players-notably Harry Andrews, Denholm Elliott, Ronald Radd and Kathleen Widdoes-effectively explore the full dimensions of their roles. Lumet moves his camera incessantly to give the illusion of action, but uses fadeouts to duplicate the curtain falling at the end of an act. He attempts to preserve the tense theatrical effect...