Word: evilness
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Dates: during 1950-1959
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Whatever the inadequacies, Olivier more than makes up for them. His Richard is an elemental force, the principle of evil itself. The feral face (modeled, Olivier says, on the features of Broadway's Jed Harris and France's Francis I) allures the eye as a great serpent might. And Richard's ruttishness, in the amazing scene of the widow's seduction, is a slimy, cold convulsion...
...Court Jester Danny Kaye is the court jester, and he is a funny man. He dances, duels, jousts against "the grim and grisly gruesome Griswold," unwittingly outwits the evil courtiers and tells funny stories. Also, he has little men who do his bidding...
...knocks out a passer-by named Giacomo the Jester, who is in reality a secret agent. Dressed up in Giacomo the Jester's outfit, Danny Kaye goes to the castle to get the key to the secret passageway "for the cause." Here the plot wanders into a labyrinth of evil subjects...
...Shocked" by the use of the text in a College course, Fordrung said that he is "disturbed by the immense evil being done by the promulgation of the false doctrine contained in this book." Rev. Fletcher immediately accepted his challenge to debate the volume, insisting only that "the affair doesn't degenerate into a name-calling contest." Fordrung, a member of the New York Bar for four decades, agreed...
...Masses. She symbolized the strange, diabolic resistance movement that flourished beneath the surface of official society, just as Madame de Sévigné symbolized the outer serenity and almost Japanese exactitude of social forms. There is no evidence that her 17th century mind understood that underground passion for evil any more than the passion for sainthood. She could only sigh with stoic disenchantment: "What hope can there be. for one who is neither worthy of heaven nor of hell?" This line sums up perfectly a kind of moral neutralism that did not end with Madame de Sévign...