Word: humanism
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Dates: during 1960-1969
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...DREAM, HIS REST, by John Berryman. Using a fictional middle-aged American named Henry as his mouthpiece, Berryman comments on a whole range of human experience, particularly life during the past eleven years, and completes the poem cycle begun in 77 Dream Songs...
...general to all of us. He is mature enough to spare his viewers any murky idiosyncracies, as we sometimes see in Bunuel, and yet his firm talent shapes our understanding without fanfare or the crassness that sometimes mars Godard and Fellini. In the final analysis, it is his resolute humanity that breathes so wonderfully from this new film, a simple sincerity in dealing with the difficulty and complexity of being human. He brings to bear in Shame an intelligence that is in no way contrived or self-indulgently clever, for he has the confidence of an honest...
...metaphor for modern life seems to stem from their very inaccessibility to most people, who are first not scholars, and second, are simply unable to divest themselves of the bewildering multiplicity of systems, of artifical organizations that direct our lives, serve as metaphors for themselves and are extra-human. Bergman reveals those human realities--love, doubt, shame--that have been so sadly buried in complexity, yet in a context comprehensible to any modern person who thinks and feels, or wants to think and feel. In this task of creating mythology, the choice of the story is crucial, indeed the whole...
...Rosenberg are forced into a series of situations where moral decisions must be made. When you see the film, you will feel the agonizing universality of their situation and participate in it, free as you are rarely free in this time to see people as human begins and not as symbols of others things. Eve says in the film that she sometimes feels as though she is part of someone's dream, someone who will fell ashamed when he awakes. This is the shame, the obscene separation of people from themselves by acquiescing to someone else's organizational dream...
...Stone aside, there is more talent in Sweet Charity than any other musical film around. Most astounding, perhaps, is Fosse, who makes his directorial debut with this film. As a Broadway choreographer, Fosse has been one of the outstanding conceptualists, blending his distinctive angular vision of the human form with the demands of a specific show. (His peak probably was How to Succeed, in which he transformed his chorus line into a human typewriter.) In Charity, Fosse manages to capture his dancers' frenetic contortions while never allowing the big numbers to crowd the actors off the screen. He also...