Word: lusts
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Dates: during 1970-1979
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...Lawrence. In his novel Women in Love one of his characters says, "It takes two people to make a murder: a murderer and a murderee. And a murderee is a man who is murderable. And a man who is murderable is a man who in a profound if hidden lust desires to be murdered...
...video, red darkroom light, silhouette effects-all of which deliberately modify objective surfaces for various ends. The obvious effect of these conflicting images is to encourage a careful scrutiny of the ends for which films are manipulated. A hysterically banal aesthetic argument from Vincente Minelli's 1956 B-movie, Lust For Life (shot off TV via video tape and transferred to film), represents the Nixon-Paramount form of exploitation within Available Light. Speaking to the point of images questioned, Anthony Quian (Gauguin!) answers Kirk Douglas (Van Gogh), "I paint it flat, 'cause I see it that way," the Hollywood realist...
...curtain raiser, fluttery Karen Nash (Maureen Stapleton) books a suite, trying to rekindle the lust hopes of her 23-year-old marriage. But saturnine Sam Nash proves as remote as room service. The reason, Karen correctly deduces, is Sam's office fixture, a Miss McCormack. It is not only the affair that grieves the wronged wife, it is the businessman's lack of enterprise. "Everyone cheats with their secretaries," she wails. "I expected something better from my husband!" But beneath the holy acrimony are wounding truths. Successful Sam is no longer struggling; he wants the arriv...
...occupied by a painter friend and by Haydee (Haydée Politoff), a pouty, bikini-clad young swinger who collects men much the way Adrien gathers antiquities. Her affairs with the painter and a wealthy American art fancier gradually arouse Adrien's own confused feelings of jealousy and lust. Amused by the thought of a new conquest, Haydee consents to sleep with him. But in a final spasm of pique, Adrien drives away while she talks to a brace of former boy friends. Alone at the villa, unsatisfied with the solitude he initially sought, Adrien at film...
Behind the "don't-mention-Mafia" campaign, behind the talk about promoting an "image of law-abiding Americans," are two intriguing social forces. One, breathing heavily, is a positive lust for respectability. The irony is that the men of the Mafia, for reasons of camouflage, have arrived at the life-style of the Man in the Gray Flannel Suit. But the double irony is that propriety has now become its own parody. While the children of the league labor to prove how sober, hardworking, puritanical they are, the children of the Mayflower, dressed in a travesty of the 1930s...