Word: jours
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Dates: during 1960-1969
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Leon Mann, a social psychologist at Harvard, and K. F. Taylor of the University of Melbourne, report in the Jour nal of Personality and Social Psychology that people in lines are possessed of a curious sixth sense that subconsciously spots the "critical point" when the sup ply of tickets will give out. Yet instead of giving up and going home, late comers succumb to an ersatz optimism and delude themselves into thinking that the line is shorter than it really...
...Article 3, Section 17 of the Broadcasters' Code). His other constant prop is an arch smirk. He prances onto the kitchen set the way Sugar Ray Robinson used to approach the ring, then pirouettes so that the tittering ladies in the studio audience can admire his costume du jour. He has 27 of them-black tie for a filet steak Washington, for example, and a kangaroo-skin bush jacket for less formal dishes. He opens with a bit of humor or reminiscence, perhaps h;s somewhat askew impression of Terry-Thomas, perhaps some war stories about his days...
...fight. Psychologists and marriage counselors know that this ste reotype is not really true, and would probably not be healthy if it were. A sprightly new book called The Intimate Enemy (William Morrow; $7.50), by California Psychologist George R. Bach and Peter Wyden, a Ladies' Home Jour nal editor, strikes a blow for the positive virtues of the Pugnacious Marriage...
...Belle de Jour, a very willful fantasy by Luis Bunuel compensates for its personal eccentricities by being so tolerant of the perversions of its characters. Raymond Durgnat (I think) points out that Bunuel's preoccupation with fetishist love differs little from, say, Max Ophuls' preoccupation with sentimental romance--that all forms of love are pure, and identical in the eyes of whatever strange God Bunuel worships. Belle de Jour is a film-maker's film, uncompromisingly unclinical, its often shocking material bathed in the warm yellow-brown glow conveyed by sensuous moving shots...
Bunuel's own vision (apparent in the strange premature glimpse of the wheelchair and the ever-present emphasis on feet) draws us into the world of Severine's life and fantasies. Though Belle de Jour boggles the mind the first time around (audiences tend to dwell on peripheral ambiguities), the structural integrity becomes increasingly clear on repeated viewings (well worthwhile) and ends up simpler than many of Bunuel's other films; Bunuel's insight and humanity far transcends the realm of social allegory for which he is duly famous (Viridiana, Exterminating Angel). But this simplicity is sensed rather than understood...