Word: moralisms
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Dates: during 1960-1969
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...Wasp retreat has by no means gone so far as to destroy his basic power-particularly strong in business and finance, considerable in politics, battered but tenacious in the social and moral field. Irishmen, Italians and Jews may have established themselves in construction, retailing, entertainment, electronics and light manufacturing, but big business and big banks belong to the Wasp. Almost 90% of the directors of the 50 largest corporations are Wasps. Similarly, about 80% of the directors of the ten largest banks are Wasps...
...Wasp's moral authority, it is clearly waning, but he still has an inimitable asset: the inner security inherited from his Protestant background and his expansive American experience. "If you are a Wasp, you have the confidence that the Establishment is yours and that you are on the top," says Novelist Herbert Gold. "There is the feeling that the love of a horsy woman comes to you as a birthright," Hollywood may be filled mainly with non-Wasps, but they still usually take Wasp names and act out Wasp fantasies in films. In Jewish novels, the central character...
...student movement's abdication from reason." Now teaching in Toronto, Feuer observed the 1964 Berkeley rebellion as a member of the faculty there. Deploring "the student movement's attraction to violence, direct action and generational elitism," he is not a bit less shocked by the "moral surrender of the elder generation...
...death in Champagne Murders brings about a violent reappraisal of the three characters' commitments, and the film ends on zoom pull-backs leaving them in Jimbo either to destroy one another or to form a new menage. Frederique's death in Les Biches also ends on a note of moral uncertainty as we wonder whether it will act as an agent of destruction or of change. If Les Biches proves a spellbinding and gloriously beautiful melange of personal relationships, The Champagne Murders is more complex and experimental, less perfect but ultimately greater. The character of Chris (Anthony Perkins) combines...
Madigan. Donald Siegel's elegant classicism imparts thoughtful ambiguity to this excellent police melodrama. The honesty of the filming (and of Siegel's fine actors) make the fate of the characters a matter of some importance to the audience. As we become involved, the script's resolutions assume moral force, and the inconclusiveness of real-life relationships is ably conveyed through intelligent use of genre. Siegel makes few personal judgements along the way and we are left to our own instincts in dealing with Madigan, his wife, and the Police Commissioner; consequently, Madigan's death doesn't resolve anything neatly...