Word: duke
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Dates: during 1960-1969
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...outdoor scenes in England were shot in cloudy weather, and through the grey obscurity emerge ghastly relics of an earlier, pre-industrial age. Richardson presents a society where the past oppresses the present. Near the beginning of the film, we are shown a huge equestrian statue of the Duke of Wellington being drawn through the misty streets of London like a pagan idol. They've had it made, and now they don't know where to put it, someone explains. The statue later comes to rest outside the window of the senile Lord Raglan (John Gielgud), who complains that...
...Room. The operation is run with virtuosity by National Chairman Charles Sylvanus Rhyne, 56, a North Carolina-born onetime Democrat who was Nixon's classmate at Duke University Law School and who switched to the G.O.P. this year. Rhyne, a former president of the American Bar Association and an expert in international law, is fascinated by computers. Before joining Nixon, he was busy feeding laws from around the world into electronic memory banks; he also publishes a monthly magazine called Law and Computer Technology. Rhyne expects to spend $2,000,000 coordinating more than 1,500 functioning Nixon-Agnew...
...where Humphrey was not even officially entered. The aim was to reduce Robert Kennedy's momentum. Among the gambits used was the quiet funneling of money to McCarthy headquarters via labor unions. Humphrey's organization was so sloppy or overconfident during that period that when Angier Biddle Duke sent a letter volunteering to solicit funds, as he had successfully done for Lyndon Johnson, no one in the Humphrey headquarters even took the trouble to reply...
...Beware Women, I take it, is Middleton's impatience with the development of the characters. To reveal the putrescence of his Jacobean world he has written a play about the destruction of three innocent if malleable youths: but instead of waiting for the three to be perverted by the Duke and his court, from the outset and in a heavy-handed way he anticipates their final downfall. Everything is hung with doom so that we can neither laugh at their innocence, which is moribund, nor being newcomers to the play ourselves, comprehend their suffering...
...life at court intolerable) with a rich display of period objects and customs. The two themes, the perversion of every code of conduct and the persistent and self-serving reverence for the code itself come together in the final scene: the principals all do one another in while the Duke of Florence, portrayed with a peculiar accent by Jonathan Raymond, complains that none of what is taking place is provided for in the scenario he holds before...