Word: hatefulness
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Dates: during 1950-1959
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...artless art. Essentially, Neorealists De Sica and Zavattini have not changed their cinematic method, but they seem to have revised their social and moral philosophy. In their earlier films they raged at social injustice. In The Roof they are not really angry. Instead of asking the spectator to hate the world, they help him to love the people it hurts...
Newark-born Philip Roth, 26, onetime English instructor at the University of Chicago, is a Jew himself and writes of Jews with an absorbing ambivalence of hate and love. Author Roth's broadly farcical stories, The Conversion of the Jews and Epstein, are too heavyhanded; but his tender passages between young Jews in love are often a delight, and his set pieces-weddings, multiple-course dinners, the frequent inability of Jews and gentiles to understand each other though using the same language-have style and the outrageousness of life itself...
From across the Soviet border, Iran has been subjected to an unprecedented propaganda campaign of hate against the Shah. Powerful transmitters at Baku and Tashkent, between bursts of fine Persian music, devoted more time to programs in Parsi than the Russians spend on any other foreign-language broadcast except English. "Foreigners are pouring into Iran like ants and locusts, depriving Iranians of their rights," cried Russia on the air. The Shah and the landlords around him are secreting millions of dollars of oil profits in New York and London bank accounts, charged one Communist commentator. At the rate the Shah...
...Folksinging is propaganda. It's a mistake, though, to say that protest songs are limited merely to unions and politics. For example, songs of unrequited love are really protests against unrequition. Or the child who sings "I hate Bosco, it's bad for you and me' is displaying a form of juvenile protest. I wish people could think of protest songs as covering the whole range of human experience...
...reason why realism shouldn't be poetic in its effect... But now that Kazan is beginning to impose on realistic plays like Sweet Bird and Cat [on a Hot Tin Roof] an operatic style, I think it's dangerous and forced." The mainstream of American drama ("I hate to use phrases like 'mainstream,'" says Tynan) has to do with "observable reality. I think--let's be frank--that Kazan has moved too far away from that without the moral or social realities that are necessary to sustain it. Even in a play like Our Town ... the performances are realistic...