Word: lovely
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Dates: during 1940-1949
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...judges in an interview, "is twisted to eroticism. For instance, in Le Jeu et I'Enjeu [a recent French literary success] there is a revolting story. Two rats-you heard me -two rats fall upon a bed where two people are preparing to make bought love. I find that most symbolic of current literature...
...have to get back to a free evaluation of the individual. If I look around at my four or five best friends, I find that two or three of them are Jews . . . I am their friend because between us there exists the human relationship of love. We need the courage to love. Hate stems from a sluggishness of the heart; it is cheap and easy. Love is always a risk, but only a risk brings victory...
...called religion a "mode of communication with some Being higher than man" and felt it was important because it "illuminated truth" and gave man a sense of humility and permanent love...
...dark in here . . . Fans in the prayer for cool salvation. From the next booth drifts the conversation of radio executives; from the green salad comes the little taste of garlic. Behind me . . . a young intellectual is trying to persuade a girl to come live with him and he his love. She has her guard up, but he is extremely reasonable, careful not to overplay his hand . . . In the mirror over the bar I can see the ritual of the second drink. Then he has to go to the men's room and she has to go to the ladies room...
...everything except Olivier's Orlando, the movie suffers in comparison to this performance. The songs, the incidental music, the short by-plots--like Touchstone's love-making--all add the necessary rustic flavor that make the play so English. The two shepherd boys who are so deeply in love are really giddy, and thereby funny in the play; in the movie, they merely filled in the loose strings at the end of the main plots. The movie missed, too, on the character of Jaques. The uncommon melancholy which Thesiger puts into his part set up perfectly the profound lines that...