Word: hellings
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Dates: during 1960-1969
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...Marlowe. McKellen's Richard is Shakespeare's, full-strength and without eccentricity, a prince refined down to holy innocence, so that London Critic Harold Hobson could write that "the ineffable presence of God himself enters into him." In total contrast, his Marlovian Edward is a performance as hell-inspired as the red-hot poker that, at the conclusion, is used to murder the king by being rammed up his anus...
...Marks of Hell. Gardner's fight talk is brilliantly accurate. The true pathos of fighting as a subsistence trade, he shows, comes not from scheming and exploitation but from the slow corruption of courage and spirit. "Fat City," as fighters sometimes call success in boxing, is bankrupt. The long sleek cars, the sweet shock of public recognition, the feel of silk on skin is, for most fighters, pure celluloid fantasy. Their daily rounds are marked instead by steady pain and a sameness that is itself the mark of most hells...
...Susan seemed so sober and serious and responsible-she'd never do anything underhanded like what Jean did. But, hell, Jean did it, and she seemed to be a really fine girl herself! Damn, could they all be bitches? What if Susan didn't like the way he talked, or what he said, or what he wore, or what he looked like? What if he did something stupid? She'd pull the same damn trick!... noh, probably not, she was too sober to have developed that kind of thing to the art that Jean had-she'd probably come...
...living room, waiting, by nine. He sat in the hazardous old armchair and mediated upon the telephone. It reminded him of something biological; what? Yes, that picture in his tenth-grade biology book. A whole lot of snaky little cells and some great fat black ones. What the hell were those cells, anyway? Jesus, Martin thought. I can't remember anything any more. But it doesn't make any difference. Whatever that little one is, it sure looks comfortable lying up there-right in the groove." I mean, a gross...
...surreal landscape of his boundless imagination. Never centers on a washed-up Shakespearean actor named Toby Dammit (Terence Stamp) who has come to Rome to star in "the first Catholic Western." He is hounded by his own self-contempt and haunted by a vision of a corrupt cupid from hell, a devil in crinoline (Marina Yaru), who appears before him bouncing a large and somehow ominous white ball. At the end, Toby terminates his pilgrimage and turns himself into a final sacrifice to Satan...