Word: fecklessness
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...also questionable whether the programs already under way are as feckless as Nixon makes them sound. The Administration's own statistics show that special aid for impoverished pupils significantly raised the reading levels of 19% of those tested. For those youngsters, at least, somebody must have been doing something right. There is also some doubt about whether all local school districts have been using federal funds for their intended purpose. Nixon's Commissioner of Education, James Allen Jr., announced that a study he had conducted confirmed that in some cases money meant to aid special "enrichment" programs...
Incipient Insanity. What keeps this centrifugal production from flying apart is extravagantly funny performances by Wilder, Griffith and-especially-Sutherland. Wilder's frenetic talents are perfectly pitched to the neurasthenic Philippe de Sisi. Griffith wears his patented oblique stare of incipient insanity as the feckless, fatuous Louis. Sutherland is both immensely vital and painstakingly subtle. His lumbering lout is a Gallic version of Steinbeck's Lennie. Yet with a tiny moue he transforms the sow's-ear peasant into a silken, purse-lipped aristocrat. Alternately bumbling and mincing, Sutherland irreverently manages to impale both egalite and elegance...
Myles is one of those feckless mid-thirties adolescents whom employers classify as "Out of circulation" and women stamp "Overdue." Naturally, Moynahan can no more keep his attention on salvaging poor Myles than Myles can himself. Forever slipping away into puns and put-ons, the antic professor becomes cheerfully obsessed by the minor oddballs he invents...
Tuned to Pitch. Running for six hours over two evenings, Methuselah takes on life and force most often in its acting. Paul Curran and Harry Lomax gleefully caricature Lloyd George and Herbert Asquith as, respectively, fatuous and feckless. Charles Kay, made up to resemble Shaw, touchingly yet comically portrays one of the last of the 31st century's "short-livers"; Philip Locke and Jeanne Watts lend a glint of intellectual ecstasy to the bald, sexless ancients of the future. In such performances, the strands of Shaw's sometimes garrulous argument are tuned to a fine pitch, so that...
...often going home at night a broken peasant, cursing the fates. In effect, he becomes existential man, laughing at his own rueful destiny. When Mulligan dies, he makes Toperoff promise to bet all his meager savings in one last post-mortem race. It is his horseplayer's fitting, feckless (not to mention luckless) bid for immortality...