Word: milord
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Unhappily-and here's the twist-milord's lust for battle counts as nothing compared to the lust inspired in him by a winsome peasant girl, Rosemary Forsyth. He needs her, he explains, as he needs bread, sunshine, fire in winter. Honor. Well, blast honor. He claims the lass on the very day of her marriage to a husky serf, invoking the ancient droit du seigneur whereby a nobleman may claim ''the right of the first night" with any bride in his domain. The local priest (Maurice Evans) fusses a bit, suggesting that he choose another...
...rewarding chapter on Under Secretary of the Treasury Acheson's squabble with F.D.R. The President's freewheeling economic policy offended Acheson's New England conservatism only slightly less than his flippant condescension to subordinates. "It is not gratifying," reports Acheson, "to receive the easy greeting which milord might give a promising stable boy and pull one's forelock in return." Pleading a desire for objectivity, he ends the memoir before his controversial years as President Truman's Secretary of State. From his earlier recollections he omits everything he considers "too unpleasant" or "too personal...
...tryst with one of Harrison's subordinates (Edmund Purdom), masking her passion with some sprightly table talk about the anchovy sauce served on British trains. Next day, while Harrison's horse wins the Gold Cup, Harrison's wife loses herself to Purdom in the Rolls. Milord and milady ride home afterwards, exchanging scarcely a look, but telling all that needs to be known of their future together in a few strokes of luxuriously civilized acting...
...Luci and her friends gyrated through the twist and the frug; then the President himself came on with a stomp of uncertain origin that might have been a presidential version of a step teen-agers have dubbed the "bird." To the racy tune of the old Edith Piaf favorite Milord, Lyndon took Luci in a modified bear hug and whirled her around while flapping time to the music with his elbows...
...aristocrat is the servant of his passions; the servant is the master of his master. A reversal of roles is certainly central to Harold Pinter's screenplay in The Servant. But Pinter and director Joseph Losey hint at much more--and hint is about all they do--for while milord falls from high estate, diabolical manservant wages war with snooty girlfriend, and the gentleman is more the pawn than the prize. The meaning of the conflict? Well--it's hard...