Word: flowers
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Dates: during 1960-1969
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EVELYN LEAR AND THOMAS STEWART: ROMANTISCHE DUETTE (Deutsche Grammophon). This recording unites the husband-and-wife team in a sedate but romantic hoedown. Evelyn Lear, most noted for her flamboyant version of Berg's violently atonal Lulu, becomes a demure turtledove in Schumann's Fair Little Flower. Thomas Stewart, memorable for his dour and doomed Wotan, pours out Stephen Foster's Hard Times Come Again No More with as much authority as any cotton-pick-in' baritone in the business...
...still they take the flower as their strongest refrain
...pretty admirals" who kept company with her in the distant past, she breaks into a dance she says she did when she worked as a cabaret star. Stepping gingerly then proudly to the music, swinging into half-remembered bumps in her pink spotlight, Karnilova's Hortense becomes a wilted flower--a honeyed symbol of forgotten dreams. It's enough to make the audience forget that Miss Karnilova hardly bothers to impart the fact that her character is French...
Both films suffer from scriptwriters' inability to go beyond a simple extrapolation of the hippie into already familiar contexts: Alice B. Toklas might just as well be called Nichols and May Meet The Flower Children, its frame of reference entirely consisting of semi-improvised Jewish comedy prevalent in Neil Simon and lesser Feiffer. Runaways is structurally a simplistic morality play juggling black-and-white moral quantities with the vengeance of a true confessions magazine...
MOREA'S dilemma is that his people have picked up weapons without picking up enough support to make the weapons matter. The street hip community--which does not include the flower child hippie, "who is still tied to property relationships"--never got over 200 in Boston this summer. Near the end, after several weeks of pounding from the police, it was down to fewer than 20. With so few troops, weapons are meaningless, unless the hips take to the hills and employ insurrectionist tactics...