Word: lovesickness
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Dates: during 1950-1959
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...bull ape. After that, for 14 hours, Florida radio listeners within range of Jacksonville's WAPE-are assaulted by the monotonous beat of rock 'n' roll. A three-minute trickle of news every two hours is the only relief; every station break is loud with the lovesick ape. The continuous uproar is so hypnotic that few who hear it seem anxious-or able-to turn it off. Last week one-year-old WAPE finished its fourth month as the top-rated station in a highly competitive nine-station town...
...fiesta in Pamplona the tensions boiled over. Pat and Duff were back together, but the lovesick Harold could not quite believe that the great affair had ended. He irritated Hemingway by finding the bullfights less than rapturous, indeed "shameful" (Loeb momentarily rode a young bull's head, broncobuster fashion, in the amateur frolic). On the last night of the festival, they stepped into an alley to slug it out. "I don't want to hit you," said Harold. "Me either," said Hemingway. The hairy-chested novelist saved his punch for The Sun Also Rises...
...extravagance and high polish; for all but the quietest of dining rooms they spoke too softly of small delights. At the end, his wife was forced to take in boarders to support the family. As his last job before he died at 51, Raphaelle Peale was reduced to writing "lovesick poems" for a baker to put in cakes...
...movie flashes back to explain the scene. The explanation is the movie proper. It involves the characters in a voyage on a terrifically dilapidated steamer, a ride in a car with a built-in champagne bucket, and a tangle with a band of surly Arabs whose chief is lovesick over photographs of Rita Hayworth. A prim young Englishman's wife (Jennifer Jones) is snowed by the inscrutable Bogart, and Bogie's wife (Lollobrigida) is similarly attracted to the Britisher. The swindle plan nears success a dozen times, but falls apart each time. At the end the same shot...
...this first recording of Le Comte demonstrates, but linked together they constitute not three operas but a splintered fragment of one. The work has some rich ensemble climaxes and some rippling solo parts, but after one and a half acts of inspired buffoonery about a predatory count and a lovesick countess, the opera degenerates into a downhill scramble toward a baldly telescoped ending. The sporadically brilliant music gets an adequate performance from the Glyndebourne crew...