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Word: christly (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

Church of Jesus Christ of Latter-day Saints Seminary...

Author: /time Magazine | Title: Letters, may 4, 1959 | 5/4/1959 | See Source »

...purge of Sänger rankled West German papers of widely varying political persuasions. "Scandalous," cried the non-partisan Protestant weekly Christ und Welt. "Our newspaper publishers who sit on the D.P.-A. board should realize that they are doing exactly what Ulbricht and his henchmen are doing in the East Zone." Said Düsseldorf's Jewish Allgemeine Wochenzeitung last week: "We wonder how young German democracy will react to this attack against basic principles." Said Das Freie Wort, official organ of the generally conservative Free Democratic Party: "We are alarmed at this attempt to subjugate an independent...

Author: /time Magazine | Title: The Press: Last Story | 5/4/1959 | See Source »

...first glance this "fighting ending" seems an adequate answer to the question of why Manolios (or Christ) had to die. Actually, the story after Manolios' death takes the form of an epilogue. Seen in this perspective, the "fighting ending" only suggests that fighting common enemies transcends fighting friends, which, rather than sanctioning battle, indicates a fine irony that Manolios' death brings not only unity, but more death...

Author: By John H. Fincher, | Title: He Who Must Die | 4/30/1959 | See Source »

...point in the movie, a hero is defined as someone who comes to fill the needs of others. Filling the small needs of many, Manolios approaches the stature of Christ. To put someone on the screen, posing him as Christ to the point of naming him, is blatantly presumptuous. But the fact that Dassin does it successfully absolves him of presumption...

Author: By John H. Fincher, | Title: He Who Must Die | 4/30/1959 | See Source »

...shepherd makes a convincing Christ, thanks largely to a brilliant device of Kazantzaki: until he most needs speech the shepherd stutters incomprehensibly, at which time his simple courage and sincerity is given tongue. The rest of the credit belongs to the director, who uses the camera throughout the first half of the film in a straight-on manner, getting dramatic effects from posing and from motion directly in and out or across the screen. His scenes resemble a series of carefully posed Renaissance paintings, narrating a Biblical story, for he focuses attention not by close-ups or dramatic angles...

Author: By John H. Fincher, | Title: He Who Must Die | 4/30/1959 | See Source »

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