Word: louts
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Dates: during 1970-1979
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Smoke machines flood the stage with a primordial haze. Colored lights flash, and chain-mail costumes shine in the gloom. A guitar swoops through a sonic blizzard that might have been whipped up by Led Zeppelin. Whirling at the center of this musical maelstrom is a lanky, dark-haired lout. He shouts in a girlish tenor, drops his kimono, strips to hot pants and tosses roses to adoring teenyboppers...
...deadpan American voice that could have come straight out of Gidget Goes Loco. O'Neal's Barry has no charm and is the film's decisive failure; you can forgive a rogue anything so long as he is graceful and entertaining. O'Neal's Barry is a lout at bottom, and he seems to be so incompetent an actor that it's hard to tell if this is what Kubrick intended. O'Neal is not only opaque but insubstantial--if you poked him he wouldn't be there. There's nothing behind the mask, and the mask is boring...
Raisuli, Sherif of the Berbers ("The blood of the prophets flows in me") kidnaps a beautiful American woman, Eden Pedecaris ("He is a brigand and a lout") and sweeps her off to his castle in the desert. President Theodore Roosevelt is outraged ("Arabian thief! I want respect!"), and the U.S. Government dispatches an ultimatum to the powers in Morocco: "Mrs. Pedecaris alive, or Raisuli dead." There follow fights, betrayals, skirmishes, duels, U.S. Marine action and a couple of full-fledged battles. Nothing much like it ever happened in history, but it makes for a lovely adventure...
Died. Mary Ure, 42, cerebral, icily sensual British actress; of an apparent heart attack; in London. She first won wide attention as the wellborn, ill-used wife of an acid-tongued lout in Look Back in Anger, the 1956 marital psychomelodrama by her first husband, Playwright John Osborne. She went on to give other strong performances in films (Sons and Lovers) and on stage (Duel of Angels, Old Times), sometimes co-starring with her second husband, Actor-Playwright Robert Shaw...
...aisles, though it probably wasn't Jonson's intention to get that sort of response--he wanted to instruct as well as amuse. He placed himself squarely in the center of his society, defending true values against all comers front all directions--Puritan and libertine, meek fool and overbearing lout. He played the down-to-earth Aristotle to Shakespeare's Plato, attacking anyone who deviated from his golden mean. This kind of stance can reduce the energy level of a work of art--how vituperative can you be when you're defending moderation?--but Jonson surmounted this difficulty by resort...