Word: contrasts
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Dates: during 1970-1979
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...such a contentious subject, TIME'S special report on socialism (March 13) drew a remarkably calm and reasoned set of responses from our readers, as reflected in the excerpts printed in this week's Letters column. In contrast, the cover story on the serene Cheryl Tiegs (March 6) brought a surge of emotion-charged letters-555 at last count. Most of our critics were angry and articulate women who found the story sexist. Predictably, the most enthusiastic supporters were males who felt that the cover was, as one put it, "a breath of fresh...
Bruccoli takes the plausible view of their relationship: Fitzgerald had not only a genuine regard for Hemingway's genius but also an immature fascination with Hemingway the warrior and sportsman. Ernest, by contrast, had a desire to dominate and turn a cold shoulder on those whose help might appear to challenge his independence. The list of his ex-friends included Sherwood Anderson, Gertrude Stein, John Dos Passes and Archibald MacLeish...
...hard to imagine Fassbinder, contrast, very far from the pavements of a modern city, whether it be Munich, Berlin or New York, his favorite place. Though he dresses in dirty jeans and a leather jacket, and looks like a Hell's Angel, Fassbinder is rigidly disciplined. Since he finished his first film in 1969, he has turned out, on average, one full-length movie every three months. "I want to build a house with my films," he says. "Some of them are the cellar, some are the walls, and some are the windows. But I hope...
...exploit these strangely gifted children. That ending does not quite match Carrie's, perhaps because the picture as a whole does not work as powerfully on one's emotions. The reason is that Carrie herself existed in an ordinary milieu, a middle-class high school. The contrast between it and her "talent" was vivid. Then, too, Carrie was such a plain mousy little thing, so set upon by her peers that one derived vengeful satisfaction when she-literally-brought the house of her tormentors down around them. By contrast, The Fury exists from the start in the fictional...
...manic mechanical nature nearly ruins the number "Swiss Miss," which is cleverly choreographed (by Douglas Fitch and Nancy Tulowiecki) for Dick and Susie to move like the puppets on a Swiss cuckoo clock. Because Barton is nearly always cuckoo, the dance doesn't come off as much of a contrast--a real shame, because Barton is relaxed and debonair in later routines...