Word: comparison
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Dates: during 1970-1979
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Barbara Tuchman's lament is a well-intentioned reminder of our reluctance to honor our artists and thinkers. But the comparison is unfortunate. Twain was a humorist and satirist who was as much taken in by the Gilded Age as he was critical of it; Hugo was a lyric poet and epic novelist-and, what's more, a political hero. His exile was a symbol of opposition to tyranny...
...turned out, Bell's problems were far from over. Trying to resist any comparison with Watergate, Bell made Curran a "special counsel," not a "special prosecutor," the title carried by Archibald Cox and Leon Jaworski when they led the investigations that helped to bring about Richard Nixon's downfall. There was one important difference: unlike the special prosecutors, Curran would not have the power to charge anyone on his own. He would first have to get the approval of Assistant Attorney General Philip Heymann...
...little blood in the movie, scarcely any nudity, and, considering the story it comes out of, and the opportunities available for flat-out ghoulishness, Carpenter has produced a tame and tactful film. However, most of Assault's quirky humor and antic allusiveness have been rubbed away, and Halloween, by comparison, is thinned by the expenditure of so much energy towards pure scariness. Carpenter flirts, here as in Assault, with some vaguely metaphysical notions about fate and death and evil, but you get the sense that he isn't really serious about it, and is merely doodling in the exceptionally wide...
...sales lead over the later-starting competitors that will come out when the model year formally begins in the autumn. Between April and September, GM aims for sales of 325,000 X cars. Company executives talk of selling 1 million of the cars by the end of 1980. (By comparison, GM sold nearly 5.4 million vehicles of all kinds last year...
Erratic or not, Chéreau's solutions will set the standard of comparison for the many full-length productions that are sure to follow. The problematic third act has been from the start one of the opera world's chief prizes and puzzles. World War II brought an inhospitable climate for productions of Lulu, since the Nazis regarded it as entartete Kunst (decadent art), but thereafter it began to enter the international repertory. Approaches to other composers about finishing the third act had ended inconclusively. Opera managers vied for the chance to present the first complete performance...