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...Clockwork Orange, based on the Anthony Burgess novel, is a merciless, demoniac satire in the future imperfect. It posits a world somehow gone berserk, in which there are no real alternatives, only degrees of madness. Kubrick makes the whole thing (as he did in Dr. Strangelove) chillingly and often hilariously believable. Alex, so contemptuously in control, soon becomes a victim of his own lunatic society...

Author: /time Magazine | Title: Cinema: Kubrick: Degrees of Madness | 12/20/1971 | See Source »

...classic heroic response to a virtually feudal situation. Yet David, in defending himself against the threat to what Robert Ardrey would call his territorial imperative, soon becomes as bestial as the attackers. Peckinpah asserts with gripping, merciless logic that any man, no matter how cold or cowardly, is capable of committing the most appalling violence -and of enjoying it. "You never took a stand," Amy accuses David early in the film; when he finally does, he acts not from any sense of honor but from animal instinct. The assault on the cottage and his defense of it produce...

Author: /time Magazine | Title: Cinema: Peckinpah: Primitive Horror | 12/20/1971 | See Source »

Pound's marginalia, scribbled, indeed, with a stumpy pencil, mark the trail of an editor with a fine merciless eye for padding, preciosity or false prosody: "3 lines Too tum-pum at a stretch," one scribble reads. With the notation "1880," Pound skewered an anachronism in which Eliot called for "a closed carriage" in 1922; the carriage promptly became a "closed car at four." W.H. Auden once observed that Eliot was part church warden, part twelve-year-old boy. Pound was on the side of the boy. His objections to Eliot's frequent use of "may" and "perhaps...

Author: /time Magazine | Title: Books: Old Possum Revisited | 12/6/1971 | See Source »

...album are "Dirty Business" and "Henry". The "true" "Dirty Business" is one of the most malevolent songs I have ever experienced--and this does not quite come across on the album. In concert the song starts low and loose but builds and swells, pushed by Garcia's merciless use of the wah-wah, until it drains everyone who hears it--both musicians and audience. The story is High Noonish but their rendition is so powerful and tense that it makes you alternately sweat and shiver. Since the song is overwhelming in concert. I'm not sure that my judgment...

Author: By Dave Caploe, | Title: Riders of the Grateful Dead | 11/6/1971 | See Source »

...presented at the trial was somewhat nebulous, the personalities involved certainly were not. The presiding judge, Webster Thayer, was a traditional Yankee with little sympathy for radicals. The Prosecutor, District Attorney Frederick G. Katzmann '96, was a cold, sharp, thin-lipped man of German descent who sought convictions with merciless persistence. And the original defense counsel, Fred Moore, was a leftist labor lawyer who sported long hair and often wore sandals to Court. Moore's appearance coupled with his constant objections to Katzmann's tactics, only strengthened Thayer's bias against the defendants...

Author: By Leo FJ. Wilking, | Title: Sacco and Vanzetti in History... | 10/27/1971 | See Source »

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