Word: contrasting
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Dates: during 1960-1969
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...contrast, the music that is coming out of the Beatles these days has none of these explicit qualities: their latest songs are casually, almost sloppily, put together, composed of elements that are determinedly unadventurous and unpretentious to the point of seeming derivative. So why do we nevertheless like the Beatles so extravagantly? It is worth, I think, the effort to try and understand the abstract roots of the Beatles' superiority, a superiority that is evident from beginning to end of Abbey Road...
Their troubles seem unreal alongside the slapstick that went before. Instead of a jolting contrast between violence and comedy, as in Bonnie and Clyde, we have an annoying contrast between soap opera and farce. Violence may be akin to farce, but too much violence is confusing. The glorification of the outlaw's life, only partly tongue-in-check, also weakens the humor. The film subtly encourages the puerile anti-hero-worship it meant to spoof...
Robert Redford, by contrast, glowers like Hud in the role of the Sundance Kid. As a cold-blooded killer, he bears little resemblance to the whining husband of Barefoot in the Park. His moustache droops, for one thing. He grunts, bites bullets, and shoots people (mostly Bolivians) with laughable accuracy. Both Newman and Redford bring sharp comic timing to the title roles, but Sundance is the more remarkable creation. He's chilling and funny at the same time...
Both candidates took strong, contrasting stands on national issues, turning the contest into a virtual mini-referendum on the Nixon Administration. The Republican, State Senator William Saltonstall, 42, campaigned almost down the line with the Administration on Viet Nam, the ABM and tax reform. In contrast, Democrat Michael J. Harrington, 33, a state representative, opposed Administration policies, attacking the ABM, calling for total withdrawal from Viet Nam by 1970 and criticizing high military spending...
...brother Jules, by contrast, is consumed by passion. In Miss Gates' intensely realistic world, he is a stunted Nietzschean hero, a drifter and petty criminal who lacks the imagination to refine love out of his shapeless longings. Yet he is not without hope. Caught up in Detroit's summer riot, Jules discovers that his best instinct is for "senseless dreamy violence." "Violence can't be singled out from an ordinary day," he tells a TV interviewer after the riot. "Everyone must live through it again and again; there's no end to it, no land...