Word: classicism
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Dates: during 1970-1979
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Most managers don't have to tell you that all the time. It's a classic Napoleonic complex...
...Frankenstein is not simply a woman's revenge. It is not, in fact, simply any one thing. Beneath its rhetorical, overwritten surface, the novel moves as fitfully as a dream, allowing as many interpretations as there are willing interpreters. The classic Karloff films take only part of the story and twist that as well...
Even in their worst moments, for example, the classic Frankenstein films were never so rhetorical and loftily mannered as the language of the novel. And familiar settings, characters, and actions are missing. Where is Frankenstein's marvelous laboratory? What has happened to the big creation scene...
Sweeney Todd. Not for the squeamish, since it is about cutting people's throats, baking the fresh cadavers without delay and serving them up as meat pies. With Angela Lansbury and Len Cariou in peak performances, Sweeney Todd is a classic example of the remarkable virtuosity and range of the U.S. musical when it is in the hands of two flamboy ant masters of the stage, Director Harold Prince and Composer-Lyricist Stephen Sondheim. It is also the closest Sondheim has come to writing an opera, albeit dark, cynical and morbid...
...true that this film starts off like any other Bond extravaganza (including undulating female silhouettes). Something gets stolen (in this case, a U.S. space shuttle on loan to the British), and Bond has to find out what happened and try to get it back. But this is classic; even Sean Connery Bond flicks used such plots. (Goldfinger bought up most of the world's gold supply, Spectre took bombs from a hijacked American submarine in Thunderball, and arranged the thefts of two American and one Russian space craft in You Only Live Twice...