Word: fascistically
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...Instead of appreciating the correctness of the struggle against the Hitlerites," Ceausescu said bitterly, "the Comintern criticized the Rumanian Communists for their activity against German aggression . . . Rumania, abandoned by all European powers, was actually thrown into the arms of the Hitlerite forces. Resistance to the fascist dictatorship included broad circles among the bourgeois parties and the royal palace...
...hodgepodge of ancient Roman, papal, fascist, and contemporary statutes that make up Italian law, the only thing certain is that there is no divorce. After that it's gangbusters. Everything is so tangled that it takes twelve to 18 months before a first hearing on any charge; a final judgment takes years. The clog in courthouse and jailhouse gets worse as each year gets older. Then, every so often, just before the jam-up becomes impossible to handle, the Italians resort to a sure cure: a general amnesty for all but the most dangerous offenders...
Bunuel leads us along the borderline of bourgeois satire, in a vein as old as Moliere; but only briefly. Sadist Josef is an anti-Semite, and his violent Fascist explosions shatter the relatively calm surface of the satire. A visit from the cure begins as a mild lampoon of the clergy, but breaks all bounds when Madame seeks a little sex-education...
Bunuel's theme is the seductive power of Evil. Earlier, when Josef and a Fascist friend were composing anti-Semitic tracts, a witless scullery-maid unwittingly contributed a phrase, by voicing her opinion on a point of rhetoric. We are never sure how close to moral seduction our protagonist Celestine is, as she struggles in the currents of circumstance. We too feel seduced when Bunuel's devious camera involves our gaze in the seemingly innocuous--a butterfly on a window--then pulls back to show us our complicity in senseless violence--as the senile grandfather blasts it with a shotgun...
LeRoi Jones, 31, is no relation to the Emperor Jones. But he would like to be. He noisily nurses plans for a fascist Black Nation in Harlem; he howls destruction on all his foes, chief among whom are the Rev. Martin Luther King, the American Negro middle class, and absolutely all white men everywhere. In his 1964 play, The Toilet, Jones gave painful promise of developing gifts as a writer. In this disjointed collection of essays, the promise is flatly withdrawn. Jones clings raptly to his privileged role as victim, and has settled for a career as blackwash expert...