Word: lows
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Dates: during 1940-1949
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...imply that scientific progress is the highest goal of Man," Compton said. "High wages and low prices are not fundamental bases of human happiness." Ultimate human happiness must reside in the spirtual realm, based on sympathy, morality, and religion...
...because like all shows, it is not perfect. For one thing, Oscar Hammerstein II has succumbed to a fit of moralizing for a few minutes in the second act, and although it is only a passing fit, one that is practically flippant compared with the attack that laid "Allegro" low, it is nonetheless a blotch, a mar, a flaw. And the song that does most of the moralizing, called "You've Got To Be Taught"--the full line is "You've got to be taught to hate"--is as unnecessary as it is didactic. It simply repeats in italics...
Both arguments are invalid. There was a serious low-rent housing shortage (and it is in low-rent housing that the present shortage exists) before controls were even considered. The 1933 figures show this. And the present federal controls include "hardship clauses," especially written to let the landlord secure rent-hikes if he can show that his income is seriously falling relative to his costs. More than that, for the last few years real-estate operators have been using leases as a very effective anti-tenant weapon, keeping people paying on an insecure month-to-month basis, unless they agree...
...just around the corner, but some expected an "intermediate" rise. Said Chicago's Dow Theorist Justin F. Barbour: "The market pattern . . . suggests that 1949 will prove to be a 'Down' year." Then he hedged his remarks. If the market does not break decisively through its low point of last November, he said, it will be a Dow signal that there may be "an important rise." In any case, "a normal bull market is unlikely . . . until all the basic industries are confronted with . . . competitive conditions...
...profoundly honest. With an ear for dialogue as accurate and intimate as a wire recorder in a bedroom, Writers Jean Aurenche and Pierre Bost (who also collaborated on Symphonie Pastorale) have provided a script that is at once ruthless, compassionate and quietly penetrating. Working in the same low natural key, Director Claude Autant Lara has produced an extraordinary fluoroscopic effect of life-in-depth. The lovers' moments of clandestine passion (as frank as any that have recently reached the screen), their childish gaiety, their anguish and fears have an almost unbearable intimacy. Sensitively conceived and superbly acted-notably...