Word: mask
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Dates: during 1960-1969
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...obviously didn't. In the third screen version of the grisly Gothic novel by Gaston Leroux, the phantom as interpreted by Herbert Lorn looks about as dangerous as dear old granddad all dressed up for Hallowe'en in a mouthless lavender mask that could probably be duplicated for a dime at any corner candy store. And why does he wear a mask? Because his face is so horrible that if people saw it they would run out of the theater hollering eeeeeeeeeek? No. Because, it turns out, he still looks like Liberace...
Self-Centered Love. But James felt he was more faithfully reflecting life than writers who concentrate on action. People mask their inner selves with elaborate manners and morals, and it was James's purpose to smoke them out. No other modern writer has so deftly exposed man's savagery beneath his civilized veneer. "James saw [the world] a place of torment," his personal secretary Theodora Bosanquet wrote, "where creatures of prey perpetually thrust their claws into the quivering flesh of the doomed, defenseless children of light. He saw fineness sacrificed to grossness, beauty to avarice, truth...
...start of a week-long tribute, the Tower, refurbished with the help of funds from Film Director John Huston, Playwright Sean O'Casey and Poet T. S. Eliot, was dedicated as a James Joyce museum, housing first editions of his books, recordings of his readings, and a death mask made in 1941 in Zurich, where he died after more than 30 years of self-exile. The site was carefully chosen, for the opening scene of Ulysses is set there. So was the date, for June 16 was the 58th anniversary of "Bloomsday," the day of Leopold Bloom...
...four-ton monsters by trailer truck. It was 1 a.m., 38 hours after his admission, when Douma was carried into the chamber after it was finally set up in a lot at the rear of the hospital. Two doctors fitted him with a special oxygen mask, and stayed with him inside the steel chamber as he was flooded with about 50% oxygen...
...discover these large designs, Commager had to pay infinite attention himself to Horace's constant changes in tone, and to his continual use of literary convention as a mask. In a single poem of thirty odd lines, Horace may shift many times between elegiac intensity and utter detachment. The pleasure of reading Horace is the pleasure of sensing these transitions; Commager has smoothed the road to Elysium...