Word: mann
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Dates: during 1960-1969
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When I lived in Paris or London, everybody sneered at the Hollywood style or Hollywood superficiality. But when I moved here in the '40s, who were my neighbors? Schoenberg, Rachmaninoff, Aldous Huxley, Heifetz, Thomas Mann, Stravinsky and Rubinstein. What Hollywood style? What Hollywood superficiality? These creative people lived here, first, because the city is so widespread that you can have your privacy when you want it. Second, the climate. Also, people here are not afraid to break traditions. When we want to play without a conductor...
Aspic was almost as cursed as Eberlin. Director Anthony Mann died before it was finished and Laurence Harvey took over, maintaining the film's tense, glossy style. But the Mann-Harvey combination could not quite cope with Aspic's thin and often incoherent content. No one in the film is properly motivated; nearly everyone is unremittingly evil. For the viewer, as for Eberlin, there is no one to trust...
...standards does not necessarily imply that they are lived up to here any more than they are anyplace else. What of the Kenneth Clarke's, John Hope Franklin's, Ralph Bunche's and James Farmer's? And before them, the E. Franklin Frazier's, Sterling Brown's and Horace Mann Bond's? All are and were top-notch academics besides being spokesmen for the Negro struggle in America. And each of them in turn know and could name scores of qualified academics who could teach even at Olympian Harvard. Of course much of Harvard's standard of competence is related...
...hero of this German movie, based on an autobiographical short story by Thomas Mann, is a boy with a 19th century-style identity crisis. Father is a rich and rigid businessman of the North; Mother is a warm-blooded romantic from the South who plays the mandolin and could hardly care less that Tonio fritters away his time writing bad poems and getting bad marks at school. Tonio appreciates this permissiveness but disapproves of it; his father's strictness seems more dignified: "After all, we are not gypsies living in a green wagon...
...long, self-probing speeches to Lisaveta and his conception of the writing man as both artist and bourgeois, free spirit and square-has been so compressed and truncated that it is lost in the snail's-pace atmosphere of the film. The result, unfortunately, is not so much Mann as it is mannered...