Word: keys
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Dates: during 1960-1969
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...President had settled on this third alternative by the time he returned from his Key Biscayne weekend last Monday, but took several more days to ponder, discuss and whip his arguments into shape-largely in consultation with Adviser Henry Kissinger. The Nixon solution has both the virtues and defects of most compromises: it may fall short of either its political or military objective, but it has a fair chance of being accepted by Congress and may be politically tenable for a while...
...there is a key to the system's inner logic, it is in the environment's response to changes of mood. When Colin feels ready to fall in love, doors begin to close "with the sound of a kiss on a bare shoulder," and the air turns sultry. This environmental adaptability is all very well in the first half of the book, when Colin's main preoccupations are his love for Chloe, for Duke Ellington's music, and for the gastronomical delights concocted by his cook. But when Chloe falls fatally ill the atmosphere of light and luxury changes...
...incident, related by Goldman with much regret and some relish, has the fascination of all court gossip, from Saint-Simon's time until today. But in the telling Goldman overemphasizes the effects of the intellectuals' disapproval on Johnson's political life. As he sees it, one key to the President's eventual fall from power was his inability to win the confidence of the academic world. This was crucial, Goldman suggests, because intellectuals are now looked up to by what he calls "Metroamericans," the growing group of homogenized, sophisticated, influential peopl.e in and around U.S. cities...
...granted. Shame is probably his greatest film--and it is the first to aim exclusively below the neck. We had expected "A Film from Ingmar Bergman" on the subject of war to be filled with long dialogues, endless questioning; in our mind's eye we can see a low-key closeup of Liv Ullman or Max von Sydow asking, "Why is this happening to us? Why doesn't it make any sense?" But this is precisely what Bergman avoids. For the first time we can walk out of a film of his with our intellect numb, our body vibrating...
...inverts this perspective Instead of enlarging detail, Bergman shrinks it. He bypasses our minds by having little that is concrete in the film--the whole thing takes on a dreamish look, and you can only stop to "think out" a dream after you've awakened from it. The few "key" lines in the film are all contained in descriptions of dreams: "At times everything is like a dream. But it's not my dream, it's somebody else's--what when that person wakes up and is ashamed...