Word: genetic
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Dates: during 1960-1969
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...allegedly obscene film is the work of a famous author, does his repu tation make the work "socially impor tant" and, therefore, not obscene? No, ruled the California District Court of Appeal in the case of Jean Genet's Un Chant d'Amour. The French scatologist's literary fame "does not provide a carte blanche when he ventures into the fields covered by the film," which is a searing, silent 30-minute portrayal of a sadistic prison guard alternately beating and spying upon four convicts engaged in various homosexual acts. Worse, said the court, Chant itself...
...Theater Company of Boston's interpretation of The Persecution and Assassination of Marat as Performed by the Inmates of the Asylum at Charenton under the Direction of the Marquis de Sade (abbreviated Marat/Sade) owes much to the scheme of those who created it (abbreviate Weiss/Brook). Sired by Brecht, Artaud, Genet and Pirandello, conceived by the German filmmaker and novelist Peter Weiss, translated by Geoffrey Skelton, set to music by R. C. Peaslee, and delivered in London and New York by the Royal Shakespeare Company's Peter Brook, the play is not one man's play open to interpretation by other...
...Tony Richardson (Tom Jones) miscasts Jeanne Moreau, an actress far too frost-free to catch the temper of a frustrated spinster. She brings every subconscious drive boiling to the surface, and her roaring heterosexual readiness makes a parody of the screenplay by France's poet of perversion, Jean Genet...
...leave it; but those who stick around will probably want to amuse themselves by counting phallic symbols. Snakes and falling timber abound, and Mademoiselle's metaphor for the act of love is an ax blade buried in lumber. Xenophobia, pyromania and sundry aberrations are touched upon, while Genet catalogues the destructive power of Woman. On the night before the woodsman is beaten to death by the villagers who suspect him of her crimes, Moreau leads her victim through rainswept meadows in one of the longest and most ludicrous love marathons ever filmed...
...implications of recurrent patterns of evil. The electronic rapidity of instantaneous information everywhere makes the plot and story line of the well-made play seem slowpoky. The modern play is all middle like a Happening, all now. Unable to conceive of a destination, it coils endlessly around its theme. Genet's The Blacks begins and ends with identical scenes; so does Ionesco's The Bald Soprano. Almost nothing has happened. There is the suggestion of unalterable and eternal repetitions in human behavior. Pinter does this almost subliminally with poetically repetitive speech patterns...