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...instead of absolute adherence to an objectively valid set of divine commandments. And in a series of lectures called "The New Reformation?," Robinson argues that when its basic truths are at stake, Christianity should preserve an agnostic silence about certain doctrines-heaven and hell, for example, or the devil and the angels-since "these cannot be painted with the assurance or the detail on the wide canvases beloved of our forefathers...

Author: /time Magazine | Title: Christianity: The Servant Church | 12/25/1964 | See Source »

...film begins, the young man (Alan Bates) turns suddenly to the old man (Anthony Quinn) and says yes. "I have a lignite mine in Crete. We can work it together. May God be with us." Zorba lifts his glass. "God," he bellows sturdily, "and the Devil...

Author: /time Magazine | Title: Cinema: Bacchanalian Bash | 12/25/1964 | See Source »

Speak of the Devil and he appears. First night in Crete, the old man turns into an old goat and goes snorting after a dilapidated soubrette of 60 (Lila Kedrova), who followed the British fleet to Crete in her flaming youth and made enough money to retire by entertaining admirals on the bridge. Next day the old man urges his young friend to hold similar converse with the village widow (Irene Papas). The young man is afraid to try. "It would only make trouble," he murmurs. "Trouble!" the old man hoots at him. "Life is trouble. Only dead...

Author: /time Magazine | Title: Cinema: Bacchanalian Bash | 12/25/1964 | See Source »

Both elements are inferentially Fellini, and Fellini labors hugely to reconcile the contradiction. In II Bidone he fails: the showman dissolves into the infant, the infant becomes a sort of devil in diapers. But the failure is not final. In 8½ the opposites attain a higher synthesis: in the infant the showman finds spiritual rebirth, in the showman the infant finds creative release...

Author: /time Magazine | Title: Cinema: A Devil in Diapers | 12/4/1964 | See Source »

...work at Los Alamos because he was worried about domination by the military. "Bohr understood and welcomed what we were doing," says Oppenheimer. An even graver distortion is the script's assertion that Oppenheimer felt that in making the bomb, "we have done the work of the devil." "This is the very opposite of what I think," said the real Oppenheimer last week. "I had never said that I regretted participating in a responsible way in the making of the bomb." In a letter to Playwright Kipphardt threatening suit, Oppenheimer added, "You may well have forgotten Guernica, Dachau, Coventry...

Author: /time Magazine | Title: Theater Abroad: The Character Speaks Out | 11/20/1964 | See Source »

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