Word: idealist
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Dates: during 1980-1989
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...Saved" appears a mere 352 pages away from "The Times They Are A-Changin'," and the familiar unflattering comparisons of Dylan's clear-sighted youth with his muddled middle age are unavoidable. But Lyrics serves equally to demonstrate the continuity of Dylan's work--even the embittered but unsophisticated idealist of "Masters of War" (1963) seems to emerge some 20 years later...
James Baldwin is an idealist, but he does not think in terms of black and white--or even in terms of Black and White. He stands apart from all the other writers on his subject matter. He is the personal philosopher of a movement of activists, poets and anti-white sociologists who himself falls under all three categories. The Price of the Ticket is an important collection because it illustrates the processes of transformation that Baldwin went through to establish his philosophy, a philosophy that ultimately denies the validity (though not the reality) of antagonism between Blacks and Whites...
...incredible idealist," said Lowell House resident Sheila J. Hogan '87 of Elek. "In talking to him you get this energy--you get this feeling he has this real calling to help mankind...
CATAPULTING HERSELF into the role of paranoid-schizophrenic idealist Susan Brock, Meryl Streep electrifies the screen in Fred Schepisi's otherwise disappointing Plenty. Adapted from the London stage play by David Hare, Plenty chronicles the disillusionment of a young English woman, played by Streep, who cannot come to grips with an imperfect world after actively serving in the French Resistance during World War II. Haunted by the fear that mankind has failed to "grow up" after the Holocaust, Susan sets out on a masochistic mission of self-destruction, punishing herself as a representative member of an unfeeling generation that needs...
Although Hare's psychological drama would have sat better with the '70s generation of "lost souls" out to find themselves, his premise of an idealist lost in the anti pastoral post-war haze of reconstruction is nonetheless an interesting one. It suffers, however, from Schepisi's overly artful direction and pacing. In an attempt to recreate the vanguard, new wave look of Orson Welles' Citizen Kane, cinematographer Ian Baker arbitrarily splices the film every twenty minutes or so in order to mark the passage of time, eschewing the more conventional and smoother dissolving methods. The problem, of course, is that...