Word: deathe
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Dates: during 1960-1969
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...March Against Death," the first antiwar ritual of the week in Washington, began at 6 p.m. Thursday. Disciplined in organization, friendly in mood, it started at Arlington National Cemetery, went past the front of the White House and on to the west side of the Capitol. Walking single file and grouped by states, the protesters carried devotional candles and 24-in. by 8-in. cardboard signs, each bearing the name of a man killed in action or a Vietnamese village destroyed by the war. The candles flickering in the wind, the funereal rolling of drums, the hush over most...
...Judy Droz, 23, of Columbia, Mo., was chosen to walk first in the March Against Death. Her husband, a Navy officer, died in Viet Nam last spring. "I have come to Washington to cry out for liberty, for freedom, for peace," she said. The New Mobe organizers had recruited others who had lost loved ones in the war, but some gold-star families wanted none of it. In Philadelphia and Dallas, groups of mothers and widows of G.I.s killed in combat obtained court orders to bar use of the men's names by the protesters...
...bleary eyes, that was only fitting. Yet, as we drove along, our spirits began to pick up; and by the time we reached midtown. we were exulting. The streets were crawling with freaks! Painted cars, beads, all the paraphernalia; smiles, laughter, peace signs, camaraderie. Even the March of Death, staggered and otherwise unimpressive at that hour, was vibrating with our kind of people. As Ferlinghetti might say, the air was alive with love. How could anything go wrong...
LIKE RENOIR'S other idealistic heroes Jurieu carries away in his death everybody's ideal aspirations. Because he acts explicitly from the deep passions the others can't sustain, his death carries more weight than those of Renoir's earlier heroes. The aristocrats agree to call it an accident; the speeches and polite conduct that cover his death seem more artificial than ever...
...refusing to take his murder seriously the characters remove all ideal depth from life. They dedicate themselves to a world of dark confusion, textures of broken light and shadow without order, violent emotional events with scant meaning. In thus interpreting the continuity of social process and order after individual death, Renoir finally recognizes the seriousness of his material. His fluid and continuous relationships between men, his heroes' deaths at the hands of society are given the atmosphere of horror they deserve. Renoir is morally engaged in Rules of the Game as in few other films...