Word: humanity
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Dates: during 1950-1959
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...most noble French tradition which does not punish a political crime with capital punishment." Author Jean-Paul Sartre, existentialist and sometime Communist sympathizer, turned up garbed in a grey overcoat and moccasins, argued that "one has to distinguish between political crime and terrorism. Terrorism, practiced to inspire fear, despises human life. The political killer demonstrates his respect for human life when he seeks, by killing, to avoid vast slaughter. Remember Charlotte Corday [who stabbed Marat in his bath]. All the French are proud of what...
...succeed, but they do not make the English officers involved in the battle any more interesting. Under Powell's and Pressburger's direction, Anthony Quayle and John Gregson, as two of these officers, are kept so busy holding their upper lips stiff that they appear more like dummies than human beings. Some unusually inept editing and excruciatingly poor sound recording do not much help their performances...
...York City Center last week, is through a kind of game. The game: listening to the score alone (on an excellent new Columbia disk) and trying to imagine what a choreographer could possibly make of it. Here and there the music suggests images of human activity. Fanfares sound: Are they bugle calls for some grand but ragged army? A truncated funeral march is heard: Is a man or an age being mourned? A troubadour's mandolin sounds a little sour: Is love being mocked? A saraband starts up, accompanied by a simulated harpsichord: Are the ghosts of vanished dancers...
...light of common things. And he can paint for the ear as well as for the eye; when suddenly the sound track fills with singing birds and a music of axles, bright September blows into the theater, tingling in the thoughts like merry harvest weather. Director Dreyer loves the human face ("A land one can never tire of exploring"), and he has chosen his faces with a sure insight. Best of all, perhaps, are the faces of the pregnant woman (Birgitte Federspiel) and her husband (Emil Haas Christensen), which make a simple, touching revelation: that they are deeply and quietly...
...manifesto in which he denies the claim of the hot-eyed progressives to be the monopolists of hope. "The man who no longer expects miraculous changes either from a revolution or an economic plan is not obliged to resign himself to the unjustifiable. It is because he likes individual human beings, participates in living communities, and respects the truth, that he refuses to surrender his soul to an abstract ideal of humanity, a tyrannical party, and an absurd scholasticism," i.e., Communism...