Word: friends
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Dates: during 1970-1979
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Laura loses her horn when Jim, a friend of Tom's conquers her shyness by whirling her on the dance floor and warming her to a slow kiss. Jim's visit is the play's climax, the culmination of a search for a "gentleman caller" for Laura, a visitor from the outside who might show her another--married--life. And to Amanda, he is a mythically important guest, for he reflects the ultimate in preparing for the future, just as she once planned for the future by entertaining 17 gentleman callers in one afternoon. Like Amanda, who chose wrong from...
...been a "talent spotter" for Soviet intelligence at Cambridge University during the 1930s, and that he had provided secret information to Moscow while he worked for M15, the British counterintelligence agency, during World War II. Blunt said that he had been converted to Marxism at Cambridge by his close friend Guy Burgess. "I was persuaded that I could best serve the cause of antifascism by joining him in his work for the Russians." It seemed to him at the time, Blunt explained, that the Communist Party and the Soviet Union "constituted the only firm bulwark against fascism, since the Western...
Blunt insisted that he had stopped spying for the Soviets in 1945, shortly before he was named surveyor of the King's pictures. Six years later, however, he got in touch with a Soviet contact "on behalf of Burgess, a few days before his friend and Donald Maclean escaped to Moscow, just as British agents were closing in on them. But the man who actually tipped them off, Blunt insisted, was the so-called third man in the spy network, H.A.R. ("Kim") Philby. At week's end, Blunt confirmed that, at a later date, he had also contacted...
...residence at King's, and also decisively homosexual, was the famous but, as I think, much overrated novelist E.M. Forster, who provided putative traitors with a serviceable formula for justifying their treachery by insisting that if he had to choose between betraying his country and betraying his friend, he hoped he would have the courage to betray his country. Burgess fastened eagerly onto this line of thought, but how fraudulent it is! After all, betraying one's country would automatically involve betraying all one's friends who were also fellow countrymen: the two propositions are not alternatives...
...crisp pictorial style, which has become more pronounced with each film, can be traced to his years as art director for the graphically innovative Esquire magazine of the early '60s. His preference for characters over plot-something of a flaw in The Late Show-comes from Truffaut, a friend and mentor since Bonnie and Clyde. In Kramer, Benton pays tribute to the French director by using snatches of the Vivaldi mandolin concerto; the same music turned up in The Wild Child, Truffaut's masterpiece about another relationship between a man and a young...