Word: demy
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...World War I approaches its demi-centenary, more and more British writers are exploring it as a true watershed in European history. Presented by Anglo-American Constantine Fitz Gibbon, the war not only killed millions in the trenches, it destroyed the survivors. The demanding civic faith and exacting private moral code of the Victorians were the unlisted casualties. The survivors who carried on were Eliot's "hollow men, headpiece filled with straw...
...This demi-paradise, this Eden for the voracious young, throbs with girlish concern for love and money, in that order. But evil, when it is finally faced firmly by Mrs. Spark, comes in the form of lust, not for human flesh but for one of the club's principal assets -a taffeta Schiaparelli dress that is lent around among the sleeker girls for evenings on the town. Does lust for a Schiaparelli justify the burning of Eden? Is Author Spark just pulling the reader's leg? A final scene is not much help. In it, the vicar...
Everyone, in short, knows who Richard Burton is, or at least what he is at the moment. He is the demi-Atlas of this earth, the arm and burgonet of men, the fellow who is living with Elizabeth Taylor. Stevedores admire him. Movie idols envy him. He is a kind of folk hero out of nowhere, with an odd name like Richard instead of Tab, Rock, or Rip, who has out-tabbed, outrocked, and outripped the lot of them. He is the new Mr. Box Office...
Apart from the overtones of demi-semi-Hemingway in this creed, the play casts doubt on the joy of life that it rather self-consciously preaches ("use all five senses every day"). To treat life as a branch of esthetics is to observe one's responses to it, rather than engage spontaneously in it, to play-act rather than act, or play. When Wertenbaker and his wife Lael (Olivia de Havilland) make love, he asks for a morning-after review. "Miraculous, as always," she replies, making two people who believe...
...forced by the code of chivalry to kill her father in defense of his own father's honor. Jimena. in turn, though she loves Rodrigo madly, is forced to seek revenge. So much for Corneille. From there out, Yordan collects vivid scraps of incident from the teeming, demi-mythological Matter of Spain, and patches together an opulent tapestry of medieval legend. In its final moment, the film rises to a vision of chilling weirdness as El Cid. strapped dead to his great white steed Babieca, looms above the field of his last dim battle and, scattering the heathen like...