Word: hanged
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Dates: during 1960-1969
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When it was built in 1912 for $500,000, the Beverly Hills Hotel sat among bean fields, overlooked a bridle path named Sunset Boulevard. There were no studio commissaries, nor even any Romanoff's, for the early Hollywood settlers to hang around in. The Beverly Hills provided a lobby with a blazing fire and a bar, and pilgrims like W. C. Fields, John Barrymore, Gene Fowler and Will Rogers came down from the hills and up from the canyons to seek their sustenance...
...fulltime political editors, two of them stolen from Hearst. Foreign coverage has grown from one staffer roaming Europe, to Times bureaus, either opened or opening, in Mexico City, Rio, Paris, Tokyo and Hong Kong. The Times now keeps a man permanently at the U.N., liberates reportorial teams for long, hang-the-cost investigations. These and other improvements have added nearly $1,000,000 to the paper's editorial budget, but Publisher Otis Chandler appears happy to pay the price...
...only penalty prescribed by the articles is death. "We don't deal with justice here, but with the law," Vere finally persuades a member of the drumhead court. And the court knows of no way to save Billy Budd, makes the soul-wrenching decision that he must hang. Next morning, as the rope tightens around his neck, Billy cries in a clear voice: "God bless Captain Vere...
...Duende has stayed away from the Loeb this week. The play is supposed to hang heavy with the ceaselessly repeated and almost unendurable symbolism of sex and death: blood, horses, water, rose, carnation, snow--blood in particular, because blood is the center of the tragedy's force. It is the link between generations, and is therefore also the past, the necessity to procreate, the vendetta--the entire culture that comes together at the wedding and presumably makes Leonardo's defeat heroic and inevitable. In the face of all this formidable blood, the H.D.C. production's cast seems faintly embarrassed...
Probably it is mostly the director's (Nirk Delbanco) fault, for he clearly has no control over either cast or play. He has not, fortunately, tried to intellectualize Blood Wedding; but neither has he stylized it, given the characters some central idea of movement and speech on which to hang their parts They even talk in different accents; the Mother (Tina Morse) strong Spanish, the Mother-in-law (Norma Anderson) mildly cockney, the rest ordinary American. This strikes one as odd, admittedly, only when one can hear them, for they conspire in whispers on a set placed so far back...