Word: dorados
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...invincible doctrine that this is the best of all possible worlds. What follows in Voltaire's gleeful vision is a string of unmitigated but somehow good-natured disasters-banishment, war, scourging, mass slaughter, piracy, the Spanish Inquisition, slavery, concubinage-until at last the wanderers come to El Dorado. Leading pink sheep laden with glimmering ingots, Candide and Cunegonde arrive with their innocence reasonably intact, although such setbacks as her rape by a regiment of Bulgarian soldiers have left Cunegonde with a somewhat supple interpretation of purity...
Howard Hawks's El Dorado is, on the other hand, a classic Western. It has simple values, recognizable goods and evils, as well as the heroically American notion of self-reliance and the personal code of justice. You have John Wayne's moral obligation to the McDonald family after he accidentally kills a son: his resurrection of alcoholic sheriff Robert Mitchum as well as his instinctive refusal to work for the land barons, which leads to a moral decision to work against them. What's fascinating is Hawks's dissociation from his contemporary environment. El Dorado, simple to the point...
Like the Yardbirds, Blow Up seems significantly ahead of its time. What's remarkable about El Dorado is that it can seem so significantly behind its time, and still be so successful...
...President as an innocent victim of his aides is another theme. "Judging by all the known evidence," Columnist Joseph Alsop said recently, "the President was persistently, flagrantly and arrogantly lied to about this matter, by a whole series of men to whom he had given total confidence." The El Dorado, Kans., Times agreed: "We believe that when the matter became public the President was lied to by the yard by men [whom] he trusted, and who went to disgusting lengths to try to make his campaign for re-election a winning one." In William...
...BOOK OF NUMBERS has a raucous, picaresque, raunchy kind of charm, at least initially. Two black con men (Raymond St. Jacques and Philip Thomas) descend on an Arkansas town called El Dorado during the early '30s to start a numbers bank. Thomas has a rather meandering love affair with a "high yellow" woman (Freda Payne), leaving him little time to help St. Jacques fight off racist law officers and greedy white gangsters. St. Jacques, who also directed, works in some nice period feeling and a couple of quick, glancing social asides about the daily indignities of being black. After...