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Word: dolls (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

WHAT they've liked a great deal lately is the movie A Doll's House (the Patrick Garland directed version). Tennis placed a sorry second the week the movie hit Detroit. Middle-aged women in laced panties and tasselled socks scurried around the court as if they had just added 'Liberated' to the "Ladies Tennis League." The movie must have been made for them...

Author: By Emily Fisher, | Title: Sighs and Dolls | 7/13/1973 | See Source »

...other left wing happenings, a safer, milder mannered form of the real thing. The kids would come home starving and the mother would tell them to leave her alone, she was now liberated. Or she would hire an extra maid to set her even freer. For this, A Doll's House was just liberated enough...

Author: By Emily Fisher, | Title: Sighs and Dolls | 7/13/1973 | See Source »

...Nora continues to chirrup about like a gay lark, you feel anxiety whooshing through her chatter. The smile on her china doll face is somehow out of joint. You begin to see that she is clinging desperately to her innocence, (like an invalid making the best of a sorry confinement...

Author: By Emily Fisher, | Title: Sighs and Dolls | 7/13/1973 | See Source »

...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of femininity: women should be seen and not heard. She finally slams the door...

Author: NO WRITER ATTRIBUTED | Title: the screen | 7/10/1973 | See Source »

...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of feminity: women should be seen and not heard. She finally slams the door...

Author: NO WRITER ATTRIBUTED | Title: the screen | 7/6/1973 | See Source »

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