Word: loved
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Dates: during 1950-1959
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...produced a clean, clear score for a small orchestra that avoided sonoric effects, used no percussion instruments. He dramatized the woman's breathless silences, when her man speaks at the other end of the line, by surrounding them with tautly suspenseful music. Instead of using leitmotifs to represent love, abandonment, jealousy, he wrote separate sequences for each of the woman's pathetic appeals-her story of a suicide attempt, her memories of a trip, the pet dog that misses its master. Said Poulenc: "I tried to give the music an erotic flavor to show that the woman aches...
...Chance seems to him the man who might save him. Against a background of native political unrest, Chance becomes part of Macgrady's crowd. He goes to dope parties in the native quarter, drinks only a little less than Macgrady, and has the bad luck to fall in love with his patient's beautiful young wife Anna...
...captive in a Memphis brothel has a novelist contrived such powerful scenes of terror. While the key gangster gives Chance a going over, the Arabs begin to riot in the town. Buildings are bombed, the gangster's house is attacked by the mob; and while Chance fights his love for Anna and takes his physical beating, he fights the tougher battle of a religious man trying to find the grace that will keep him spiritually sane. If Chance and Macgrady sometimes probe their souls to the edge of tiresomeness, Author Fielding always intervenes just in time with the flash...
...kindly British couple gives Resi a glimpse of possible happiness, and she resolves to explore "the strange land of love where tomorrow' is not always a frightening word." Cluttered with romantic folderol. Sigh nonetheless says something about man's inhumanity to man and fleetingly embodies the Simone Weil text it takes for its theme: "At the bottom of the heart of every human being . . . there is something that goes on indomitably expecting, in the teeth of all experience . . . that good and not evil will be done...
...emptiness really lies at the core of Willard's character. When he finds that he is in love with Stephanie, he avoids the responsibility that love requires by taking refuge in jealousy and smashing the affair. In the end he tries to murder the man with whom he suspects Stephanie of cheating, but it is an innocent boy who becomes the victim of his senseless attack. The trouble is that Author Grossman's hero is more ridiculous than his victims, and the social vices he flays seem almost attractive compared to the empty reaches of his own sick...