Word: dishonestly
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Dates: during 1960-1969
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Yorty has denounced Bradley as dishonest, a Black Power advocate and an associate of radical leftists. He has gone so far as to charge Bradley, a former policeman, with being anti-law enforcement because of his criticism of the police department's community relations program. The mayor, while accusing his opponent of a racist approach, easily invokes the race issue himself. "In Los Angeles," he says, "you don't have the mayor fighting with the police department as they are in Cleveland, where they elected a Negro mayor." The Los Angeles Times, arch critic of the mayor...
...when he visibly and unflatteringly portrayed Hemingway in his novel Chosen Country. Hemingway spoke lividly of training his dogs and cats to "attack one-eyed Portuguese bastards." According to Baker, he called Scott Fitzgerald, who revered him, "a rummy and a liar with the inbred talent of a dishonest and easily frightened angel." Thomas Wolfe he rated as "a one-book glandular giant with the guts of three mice." Once he provoked a fight in a hotel dining room with William Saroyan, and when the poet Wallace Stevens, 20 years his senior, visited him on Key West, he left with...
...harsh attack on the administration, Harry P. Kerr, Allston Burr Senior Tutor in Dudley House, blamed the confrontation on the inflexibility of Pusey and the deans. He also called Pusey's statement on scholarships two nights ago "plan dishonest...
...exhaustion and hope when he was willing to have his subordinates compromise the simple, campesino-oriented "Plan de Ayala" which was Holy Writ to the Zapatistas. But personally, Zapata tended to avoid important parleys, as though aware that in the eyes of him fighting men any dealing was dishonest dealing, all overt politics dirty politics. That be never grew political may appear to be a tribute to Zapata's revolutionary purity, but it also may have been the result of his remaining a rightfully suspicious village leader...
...constructive solution to anything), and the film ends on an unoriginal note of cannibalism borrowed from all sorts of other apocalyptic visions (notably that of novelist Anthony Burgess). Godard attempts simultaneously to explode the basic esthetic of narrative cinema, but offers nothing in its place; here he is dishonest with himself because the first half-hour shows (as did Contempt and Pierrot le Fou) that the man can cut a narrative like nobody's business when he puts his mind to it. Mireille Darc's much-discussed monologue is, though a single shot, the purest kind of narrative cinema (combined...