Word: deathe
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Dates: during 1960-1969
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Were it not for the widespread student discontent which I discussed above, the very small group of leaders of the student rebellion would find scant following, and if they should break the law, without such followers, they could be readily death with. It is the mass following they can arouse because of the widespread discontent which alone makes them dangerous. I therefore think we should concentrate in our thinking and planning not on these very few, but on what needs to be done so that they won't find ready followers...
...aleatory art in which values are as random as bullets. A military band plays an exhilarating march; a moment later the tune is whistled by a doomed man. A woman is run, naked, through a line of whippers; her lover, unable to watch, jumps to his death. Other prisoners follow his example like an audience seeking exits during a fire. "Let's have order here," decrees the commandant, a connoisseur of chaos and a predecessor of the concentration-camp officers who would one day perform the same tasks with greater efficiency...
...Death of a Gunfighter might have been as good as its actors. As bone-weary Marshal Frank Patch, Richard Widmark is as legitimate and leathery as a saddle. His mistress (Lena Horne) cannot make a move or a speech that is not correct or elegant; her appearance in this symbol-minded film sadly recalls a 13-year absence from Hollywood. Like the High Lama in Lost Horizon, Widmark and Horne seem at once endlessly old and miraculously preserved, as if they were waiting for a revelation. Death of a Gunfighter is not it. In a town settling into the 20th...
...frightened passion as the queen who lusts for her son Hippolytus. She commands such respect with each word that her accusingly harsh "Wicked!" to her Nurse seems to damn her for eternity. When she cries "Women, stop speaking!", they dare not speak. And when she predicts her fate, Death!", I feared for her very existence. Miss Hart overcome the awkward hand gestures devised by the director by using her face and the slightest turn of her head to convey the deepest emotion...
David Richardson, as Hippolytus, uses changes in volume and tempo as a substitute for the frenzied emotionality of his character. The emotional pitch of his speeches never varies from the time he learns of his mother's love until his father orders his death...