Word: leopold
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Dates: during 1960-1969
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...walks on the beach as we hear his voice speaking the "Ineluctable modality of the visible" interior monologue. When he shuts his eyes our screen goes black until he opens them. Equally well integrated into the film's conventions are certain conspicuous parts of the sound track, as when Leopold Bloom (Milo O'Shea) hears a cuckoo clock chanting "Cuckold! Cuckold! Cuckold!" or some barnyard noises Bloom hears in a tavern, when a greasy slab of meat falls from the gob of a man sitting near...
...quickly the mind, in its movements, can leap from tenderness to humor, or from deep sorrow to humor. They discovered too Joyce's vision of man's hope, the optimistic vitality epitomized by Molly Bloom (Barbara Jefford), the Earth Mother, but well-represented in her husband (the "womanly man") Leopold. In the vital mind of Molly or Leopold, the choice is humor when humor and sorrow coincide. The Blooms opt for Joy: at Paddy Dignam's funeral, Bloom thinks mournfully of his dead son Rudy, dead ten years, in infancy. But his mind begins to calculate what day Rudy...
...hilarious and it would not be excessive to call it an example of Joyce's bemused fascination with philology, his self-consciousness about language, which his own medium could not always represent so strikingly. Likewise, when Molly is contemplating the nature of males, she imagines (and we see) Leopold working some trigonometry problem on a blackboard, attired in mortarboard. He finishes, surveys it smugly, and writes C.O.D. instead of Q.E.D. at the bottom...
...world's top performers during his 39 years with the Philadelphia Orchestra and renowned as a teacher of virtually every first-rank U.S. flutist active today, who learned breath control as a child diving for pennies in Honolulu harbor, played in various mainland orchestras until 1921, when Leopold Stokowski lured him to Philadelphia, where he pleased audiences with his lyrical solos on the "metal nightingale"; of a heart attack; in Philadelphia...
...plane, the story is relatively easy to adapt. It merely describes in numbingly minute detail a few ordinary things that happen on June 16, 1904, in the lives of three people in Dublin: a young poet-teacher named Stephen Dedalus (Maurice Roeves), a middle-aged Jewish ad salesman named Leopold Bloom (Milo O'Shea) and Bloom's erogenous wife Molly (Barbara Jefford). Joyce overlaid his simple story with symbolic parallels, some mythological and some psychological, that are more difficult to photograph. Stephen, for example, is Telemachus, Bloom is Ulysses, Molly is Penelope, and the events...