Word: lost
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Dates: during 1960-1969
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...began sometime ago. We have grown accustomed to our world of ultimatums and extremes. And when we choose to live, we choose to live in one kingdom so entirely, that we forget the possibilities alive in neighboring realms. We may be more open, more frank, but we have lost the ability to taste simultaneously conflicting passions. In such a world, pathos is rare, when found it is priceless. For pathos, at its best, is the commingling of pleasure and pain, of laughter and sorrow, in such a precise equality that one simultaneously feels the presence of both...
...love affair is as uncomfortable as some of the dialogue ("Do you enjoy being a tall, dark secret?"). The film's open-ended references to a mysterious Negro "organization" unfortunately recall the paranoic fantasies of Ian Fleming's Mr. Big in Live and Let Die. Ultimately, The Lost Alan is notable less for what it does than for what its star does not do. After Guess Who's Coming to Dinner, many black critics found Sidney Poitier in the fink of condition. Now, outfitted with shades and a scowl, tersely barking orders for social upheaval, Poitier...
This year, two movies about black rebellion have imitated film classics of the Irish revolution. Up Tight (TIME, Jan. 3) was based on The Informer; The Lost Man is a darkened copy of Odd Man Out. The transatlantic temptation is all too understandable, for as a French revolutionist observed, "The poor are the Negroes of Europe." Nonetheless, the Irish fiction grew from a native soul and soil. The Lost Man is a legitimate and anguished cry that suffers in translation...
...newly-discovered gold mine of U.S. film distributors, appreciate foreign films for qualities of high social artistic awareness and personal expression. Given the importance of the youth market for ticket sales, the trend has even hit Hollywood, long considered by native critics the place where individual talent is lost. The names of young directors (Arthur Penn and, unfortunately, Mike Nichols) are becoming good box office. Hollywood has even begun to conceive that the old directors had something to do with their films. Action, the Screen Directors' Guild journal, aped Francois Truffaut in a recent Hitchcock interview even sillier that Truffaut...
...QUESTION can be given biblical form: "Can these bones live?" (Or even examination form: "If so, why? Discuss.") But the task of response seems especially appropriate for the stage, as theatrical adaptation has a way of giving back lost things to those who had a way of giving back lost things to those who had suffered--or willed--to lose them. And the style of this response is in the look of the production, formed out of sets, bodies, props and costumes in compositions too powerful to be ignored. The rightness of these aggregations does not reduce easily...