Word: freudian
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Dates: during 1970-1979
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...much confront his own mortality as trivialize it. His usual grab bag of show-biz metaphors is not equal to the dramatic tasks at hand. Indeed, some of Fosse's conceits are embarrassing. An angel of death (Jessica Lange) trots in and out to recite banal Freudian explanations of Gideon's workaholism and promiscuous sexuality. Ben Vereen and dancers in cardiovascular body stockings hoof it up to songs with lyrics about death. A hospital fantasy sequence looks at once like an elaborate antismoking commercial, a parody of Fellini and a Vegas floor show. The results are shocking...
...Laurey (Christine Andreas), a spirited maiden, aided by an earthy matchmaker, Aunt Eller (Mary Wickes). They make it real, even when the dialogue resembles subtitles from a silent movie. As in the silents, there is a villain, Jud, played by Martin Vidnovic, who brings to a thankless role a Freudian depth of characterization and a richly textured voice...
...chaos." Or, "Freedom is the right to do what you ought to do." He did not hesitate to take on the likes of Darwin, Marx and Satan, not to mention Sigmund Freud. He once parodied the prayer of a modern Pharisee: "I thank thee, O Lord, that my Freudian adviser has told me that there is no such thing as guilt ... I may have an Oedipus complex, but I have no sin." After one summer vacation, the bishop breezily opened his show with the words, "Long time no Sheen...
What can be the "obvious attraction" for a woman, Freudian or otherwise, in "battling a steel ball at targets, into holes, and through chutes"? The writer's explicit association of this description of pinball with sex indicates an abhorrent link in his mind between sex and violence toward women. Mr. Attanasio is not selective, though, in displaying sexual prejudice. He also exhibits racial arrogance in depicting Tommy's Armenian restaurant-owner who emits word-like syllables between "aargh's and grzhth's" and a pinball-playing "short Canuck in a bogus leather jacket." Another writer claims that, "For entertainment, "Whorehouse...
...first time Bertolucci has unloaded the ideological baggage that seemed superfluous to The Conformist and Last Tango and overwhelmed 1900. Though the director's true subject has always been erotic passion, he has usually tried to obscure that fact by littering his movies with Marxist and Freudian bromides. There is no such posturing in Luna. Bertolucci deals directly with his real obsessions; his film is a lucid and uninhibited journey to the outer limits of human behavior...