Word: life
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Dates: during 1960-1969
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Even though they disclaim any thoughts of setting up a new class of conglomerates, insurers have so much cash to invest that their new tactics can have an enormous effect on the economy. Last year, life insurance companies alone had over $17 billion of new money to invest, or almost 14% of gross private investment. To investors who have been accustomed to getting only an interest return on loans, says Washington Economist Miles Colean, "an exposure to equities is like the taste of blood to a young lion." The insurance industry's new look may have an even greater...
...bachelor brothers who in some 30 years have become fussily attuned to each other's quirky habit patterns. Charlie (Rex Harrison) is a peacock with a peckish tongue. Harry (Richard Burton) is a broody, sentimental mother hen with a semi-articulate cluck. Both men have auditioned for life and failed. Running a barbershop in a moldering district of London, they are each other's consolation prize. No hint of lust knits them together, only a saturating fear of loneliness. A special terror is to be aged and alone, and this is made chillingly vivid by Harry...
...himself in a part to the extent that one could forget he was Richard Burton, but he does it this time. Harrison has often seemed to be acting before a mirror rather than a camera. In Staircase he is acting before the broken mirror of a man's life, and he evolves a poignancy that is wonderfully real. At crucial moments in the film, he is given to saying "God help us all, and Oscar Wilde." Wilde would not have liked Staircase. It is not elegant. It is not witty. It lacks his opulent depravity. But in its modest...
That is where Woody's road ends, in front of an old church that Ray (James Broderick) and Alice (Pat Quinn) have converted into a communal dorm for wandering kids. Life seems just about perfect-or "together," as the kids say -but Penn sees destruction all around. Ray and Alice, playing foster parents, bitch away at each other in rivalry for the affections of a reformed junkie named Shelly (Michael McClanatha). Woody lies dying in a Brooklyn hospital of Huntington's chorea, a hereditary affliction of the nervous system that Arlo may not escape. When Woody and Shelly...
...souvenir of a simpler time when a quiet bitterness was as good as a riot and the most drastic sort of racial demonstration was trying to buy a Coke at the drugstore soda fountain. Parks is not yet sufficiently sophisticated as a dramatist to make such an unquestioning life completely credible to a contemporary audience. To be sure, there is one angry, rebellious black youth who stalks the community giving the sweaty white lawmen a mean time, but he is portrayed as a vicious psychotic who can easily be vanquished by Newt's storybook morality and radiant goodness...