Word: creator
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...clubs and that these weapons changed him from a vegetarian into a successful predator and allowed him to develop into true, big-brained man. On this narrow foundation, Ardrey builds a wide-swinging theory that man, including modern man, is naturally a killer and that weapons are his creator and his dearest love. Writes Ardrey: "Man emerged and triumphed over his rival primates for this single reason-he was a killer . . . Man takes deeper delight in his weapons than in his women. He will pledge a treasury to the one; a pittance to the other. Nor have the failures...
Although Thelonius Monk was a significant creator in the new jazz of the '40's, he reached real maturity in about 1957 with the Brilliant Corners LP on Riverside (12-226). Monk was a pioneer in the controlled use of space in his writing and playing, and his tonal practices are totally original. He is also one of the great wits of jazz. Try one of the several records on which he appears as a solo pianist. Cecil Taylor occupies the position of enfant terrible of the piano which Monk once held. His music--sometimes only peripherally music--consists largely...
Died. James Thurber, 66, creator of Walter Mitty and chronicler of the war between the sexes; a month after emergency surgery for a blood clot on the brain; in Manhattan...
...Dolce Vita and L'Avventura to that of Rocco and His Brothers is to discover a complex, human statement that goes beyond vignette or myth to the difficult realm of life. Occasionally marred by over-emphasized symbolism and over-played brutality, Rocco subjects one to the ordeals of its creator, and in so doing escapes the usual pitfalls of social realism. It is as if Luchino Visconti (who wrote and directed) were, in one grueling gasp, saying "No, not all poor people are victimized saints; not all city life; yes, tragedy results from human weakness and conflicting desires, including...
Sandro, a rich contract estimator who mouths dreams of the creator he might have been, dominates the film--not as a person, but as an impulsive bundle of sex-oriented sex appeal. From the moment he makes a pass at Claudia--a few hours after Anna has inexplicably disappeared--to the time when Claudia has fallen quite hopelessly in love with him, the film waits upon his comings and goings. He is the least human character in the film, and easily the less attractive, yet his obnoxiously simple character is also Antioni's indirect way of saying there is nothing...