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Word: lusts (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

...they had exchanged a few prances and roars, seven more brightly costumed devils strutted forward to shout their vain glorious boasts and be routed, one by one, by Michael. Envy ("I am the worst of the capital sins") wore a mask of interlaced serpents; Sloth was a yawning frog; Lust was masked by lizards. Last of all came La Diabla, the she-devil. With her seductive smile and flouncing skirts, provocatively hoisted as she danced, the tempting she-devil managed to give the archangel a bad half-hour...

Author: /time Magazine | Title: BOLIVIA: The Devilishness | 3/3/1952 | See Source »

...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 »

...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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