Word: loved
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Dates: during 1960-1969
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...posterities in Swedish, Spanish, French, German and Japanese. Back home, everyone from Andy Williams to the 5th Dimension has a Hair tune on his album. And the producers have opened bidding for the movie rights, now up to $2.5 million. Which just goes to show that, for American tribal love-rock musicals at least, this is most assuredly the Age of Aquarius. And bread...
...procreation, high fashion and grand frescoes prove too ephemeral for Orsini. Only the stone of Bomarzo could preserve his suffering and redeem his miserable existence. "Love, art, war, friendship, hope, and despair-everything would burst out of those rocks in which my predecessors had seen nothing but the disorder of nature." It is an outcry that invites both admiration and pity, a strong but unstable mixture that Mujica-Lainez keeps bubbling with an alchemist's patient intensity...
...hooked ("I would have done 20 shows a day. It was like a shot of -dope? Adrenalin?"). He rises to vaudeville, lives with and eventually marries his act partner, reaches Broadway while at home his wife is going insane ("She laughed at me, John. Laughed when I was making love to her"). Reluctantly, Lahr has her committed, almost simultaneously scores a smash hit in his first book show and takes up with a nymphomaniac tramp ("I don't know why, John, you see I was reaching for something ... I was all mixed up. Success, disaster-I had everything"). Eventually...
...maintains is the most complex of artistic attitudes. Satan, for example, is no villain. Indeed, Griffith discarded villains after America (1924). The men who rob the hero and heroine of Isn't Life Wonderful are driven to their crime by hunger and, like the two leads, by marital love. They are as human, as noble, as anyone else. Satan goes through more intense emotional crises even than the deserted sweetheart of Sorrows. A true union of Angel and Man, he epitomizes the ideality present in the moral experience of all the characters, an ideality extending even through their wrongest acts...
...complexity of Sorrows' sustained mood and action seems at first to be betrayed by its ending. Cortez, pursued by the shadow of Satan, flees to his true love. One thinks this is a cheap trick to get them back together and achieve a happy ending. It substitutes the crudest of cardboard religious symbolism for serious moral change. But the really cheap ending would have had Cortez repent and return of his own will. Force is required to return this malcontent to the women who loves...