Word: classics
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Dates: during 1960-1969
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...daughter's Beatle records at home in Milan, where she has lived since 1950. The plaintive Eleanor Rigby, a lament for lonely people, impressed her as "one of the most beautiful I'd heard in years." She began spicing her recital programs with Beatle numbers, arranged in classic styles by artists such as Pianist Peter Serkin, who scored a contrapuntal Bachground for Yesterday. She has now recorded a dozen Beatle songs on an LP called Revolution, which was recently released in the U.S. on the Fontana label in a jacket that sedulously apes the Beatles' last album...
Marbling this blood-tinged fragility is an incomparable richness and density of classic imagery. Lowell draws habitually from the inexhaustible theater of the Bible and loots many mythologies for his art-as well as modern life. He recalls seeing the condemned murderer Louis Lepke...
Charles Lindbergh's flight occurred 40 years ago last week, and no one under 50 can fully appreciate what it meant. It became America's national saga, all the more classic because its hero was to be shadowed by tragedy and did not prove to be free of flaws. "Slim" Lindbergh looked like the original country rube, with cowlick and baggy breeches, and he stirred folk memories; there was about him something of the raggedy fellow at the Sherwood tournament who outshoots the sheriff's best archers...
...Honey Pot is yet another modern-day version of Ben Jonson's classic, Volpone. Written in 1606, the Elizabethan comedy chronicles the rise and fall of a wily miser who pretends to be dying in order to trick his equally greedy friends into bringing him costly deathbed gifts. Each donor believes that he will be Volpone's sole beneficiary-a notion ironically dispelled when the miser's servant writes his own name into his boss's blank will...
...Cordelier (1960) is also about a progression toward joy through the liberation inherent in total self-expression. But unlike the heroes in most Renoir films, Dr.Cordelier(Jean-Louis Barrault) goes about it incorrectly and fails dismally. Cordelier, inhibited and afraid, his sexual neuroses damaging his medical career, effects the classic Stevensonian chemical transformation and becomes hideous Monsieur Opale, a sadistic savage who cannot resist kicking the crutches out from under a cripple, or wrenching the baby from any passing mother. Predictably, Opale's appearances become progressively vicious during the first two-thirds of the film; but a flashback reveals...