Word: freudian
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Dates: during 1970-1979
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...most Freudian melodramas, Mama is the culprit: lapping, pawing, hugging, and not much comfort to a young Portnoy, seeing outside the Jewish womb, beyond the intellectual, cultural and religious worlds of his parents. Alex wanders like...
...lived through one of history's extraordinary decades. Rid of its tasteless Hohenzollern constraints, and at the same time having avoided the constricting new dogmas of Marxist revolution, Germany blossomed intellectually. In the liberal, democratic '20s, Berlin was feverish with new ideas in atonal music, Einsteinian physics, Freudian psychoanalysis, expressionist art, Bauhaus architecture, Brechtian theater, not to mention kinky sex and despairing occultism, all pursued against a counterpoint of political riot and assassination...
Properly handled, such a gimmick might have launched a spoof of James' involuted style or a parody of Freudian criticism (scholars have wrangled for decades about whether the ghosts of Quint and Jessel are merely figments of the new governess's sexually starved imagination). Director-Producer Michael Winner, however, tries for a pretentious shocker in fancy dress. He serves up a pastiche of sexual sadism, witchcraft (two dolls are burned in chamber pots) and a pair of Quintessential messages: love and hate are synonymous; the dead just hang around wherever they are killed...
...those lyric holidays by a deserted strand that have been a staple of English films since Room at the Top. This obviously calls for serious measures from Zee. Not even a ritual slitting of her wrists in the bathtub has any appreciable effect. With a gut instinct for elementary Freudian geometry (so thoughtfully supplied by Scenarist Edna O'Brien) Zee sets out to bed Stella herself and play out the triangle of X Y & Zee to its conclusion...
Died. Kenneth Patchen, 60, poet of protean passions; of a heart attack; in Palo Alto, Calif. Sometimes compared to Whitman and Blake for its visionary quality, Patchen's work since the 1930s has been alternately described as Freudian, surrealistic, Marxist and mystic. Always evident was the poet's abhorrence of violence...