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Word: lustful (lookup in dictionary) (lookup stats)
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...Catholic. American Catholics seem to him "overly concerned with money and sex, asking continually for one and condemning continuously the other. Love of money-even money for the erection of cathedrals-is the root of all evil, and prolonged concentration on one sin, particularly the old scapegoat sin of lust, is normally an indication that other sins are being covered...

Author: /time Magazine | Title: Religion: Let's Get Together | 1/21/1952 | See Source »

...Bomb Over Gomorrah. "Drama, terror, lust and the BIGGEST explosion ever shown on the screen...

Author: /time Magazine | Title: Cinema: Mr. Lot Goes to Town | 1/14/1952 | See Source »

...Toshiro Mifune) is an unforgettable animal figure, grunting, sweating, swatting at flies that constantly light on his half-naked body, exploding in hyena-like laughter of scorn and triumph. But, more than a violent story, the film is a harsh study of universal drives stripped down to the core: lust, fear, selfishness, pride, hatred, vanity, cruelty. The woodcutter's version of the crime lays bare the meanness of man with Swiftian bitterness and contempt...

Author: /time Magazine | Title: Cinema: The New Pictures, Jan. 7, 1952 | 1/7/1952 | See Source »

...Caesar and actual Caesarism. This Caesar's is roughly a philosophy of Right Needs Might, but the philosophy is not, with him, a pretext for dictatorship. Shaw's Caesar, if not history's, has no other course for checking the violence, the will-to-rule, the lust-to-kill of everybody-the young Cleopatra not least-he encounters. Indeed, the exultantly upraised swords and the hysterical shouts of "Hail Caesar" at the final curtain are less Caesar's moment of triumph than of defeat. The voice of reason is always drowned out, all too soon will...

Author: /time Magazine | Title: The Theater: The Egyptian | 12/31/1951 | See Source »

...tumultuous, haphazard movement. Not angelic wings, but seven-league boots are needed for this panoramic drama of conquests and civil wars that is even more a chronicle of power than it is of passion. The characters are uniformly worldlings, plotters, palter-ers, betrayers; even Antony is destroyed by lust, not love; and Cleopatra is as devious as she is passionate. Antony and Cleopatra is really less the sequel of Caesar and Cleopatra than of Shakespeare's own Julius Caesar. And in this checkered struggle for domination, it is not wisdom that triumphs in the end (Caesar lies bleeding...

Author: /time Magazine | Title: The Theater: The Egyptian | 12/31/1951 | See Source »

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