Word: edward
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Dates: during 1960-1969
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...Senator Edward Kennedy has proposed a slightly different solution: both Chinas to be seated in the General Assembly, leaving to future discussion the allocation or abolition of the Security Council seat held by Nationalist China since 1945. The trouble with a two-China solution is, of course, that both Peking and Taipei bitterly denounce even the slightest suggestion of it. To skirt the problem, James Thomson has evolved a solution that he describes as "a step into ambiguity." If successful, it would temporarily shelve the Taiwan issue in its present form. Thomson advocates a tacit mutual acknowledgment of Peking...
Kinzel's study is further proof of a contemporary psychological premise -advanced by such theorists as Northwestern University's Edward T. Hall and Medical Center of Mount Zion's Mardi J. Horowitz-that man unconsciously projects a sphere of personal space that admits no trespass by strangers. Whenever this zone is penetrated without permission, the occupant responds by defending it, often with violence. Kinzel believes that the dimensions of the circle may provide a clue to the violence potential of its inhabitant: the larger the circle, the more intolerant its inhabitant to invasion of his personal space...
Sense Robbery. A placid, pawky art dealer, Sir Edward More (Nicol Williamson) is abruptly seized with an uncontrollable passion. Its object is Margot (Anna Karina), usherette in a London cinema. Gutted by desire, Sir Edward cannot be home with his wife and child for more than a minute before lunging for the doorway and heading back to the moviehouse. There he gropes through a guffawing audience for yet another glimpse of the girl. At last an assignation is arranged, an agreement extracted. In scenes of purest Feydeau farce, Sir Edward pursues Margot in and out of hallways and bedrooms split...
...morning Sir Edward's wife intercepts a telegram from his mistress. From that instant, the farce ascends into a blackened comedy of Eros. The More family is dissolved; Sir Edward and his new lady become a ménage à trois when they are joined by her lover, Hervé (Jean-Claude Drouot), who is posing as a homosexual. Together the two take More for all he has-including his senses. When an automobile accident robs Sir Edward of his sight, he becomes pathetically dependent on Margot. Trapped in a Mediterranean villa, he is blindly unaware that the deception...
Chart of Evil. The experience is a distortion of Sir Edward's early gropings in the darkened theater. But now the blackout is permanent, and the laughter an echo of hell in which there can be no conclusion without calamity and no denouement without death. As More, Nicol Williamson moves through the film with a looming rage that is Shakespearean in its intensity.* Bathed in such solar glare, the other actors are lit only by reflection. Karina looks and sounds a tart, but she has little of the compelling eroticism that the part requires. At his worst, Herve should...