Word: legendes
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Dates: during 1970-1979
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Another lesson to be learned is that the White House cannot be considered the repository of everything that is wise and right. The legend of omniscience should not be allowed to grow again. The list of adult men who received memos, phone calls or visits from presidential aides and responded with unquestioning haste is staggering. One former Nixon aide, still so young that he is back in college, remembers his own astonishment at what action a call from him could bring in a department. It became a game to many of these people who had never savored such authority...
...case, L'Amour Fou can stand on its own without any special status as legend or milestone, although it deserves to be something of both. It is content to be a film carefully conceived at the most basic level of film making, consistent within itself...
...bulk of the play is a retelling of the Oresteia legend, and it makes for some restive or torpid listening depending on the playgoer's mood. The basic story line is intact. With his fleet becalmed on the way to Troy, Agamemnon (W.B. Brydon) sacrifices his daughter Iphigenia to win the gods' favor. His embittered wife Clytemnestra takes a lover, Aegisthus, who murders Agamemnon upon his return from the war. The dead king's son, Orestes, goaded to revenge by his sister Electra, proceeds to murder his mother and Aegisthus. Rabe has drastically minimized Electra...
...walk, any tenuous suspension of disbelief crumbles. Although Zeffirelli spares us cinematic tricks of visions and revelations, his harping on a band of post-adolescent outcasts of society, in search of their lost youth and a Rousseauian utopia, mars the simplicity of the tale just as badly. Treating the legend of St. Francis as a Christian fairy-tale might well have served Zeffirelli's artistic talents better than this poorly conceived Whole Earth Catalogue of the life, loves and politics of Italy's patron saint...
With his eye for beauty, his ability to record both pageantry and piety infused with the spirit of the Middle Ages, Zeffirelli almost manages to stage a glorious passion-play. Instead, he drags his characters along like caricatures through a pantomime, sacrificing the magic of a legend to the flatness of a puppet show. Giotto was perhaps the greatest artist to illustrate the life of St. Francis in his frescos at Assisi. Zeffirelli has not been able to prove himself a worthy successor...