Word: moralizes
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Dates: during 1960-1969
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...sharp, funny one-act play, written by Slawomir Mrozek and translated from Polish, Charlie deals with three characters and one problem. The characters are an oculist of rather flexible moral convictions (Paul Benedict), an old man with a loaded gun and bad vision (Edward Finnegan), and his solicitous, direct grandson (Richard Shepard). These last two are country people, and they see the problem as a simple one: Grandpa wishes to kill something named "Charlie"; he needs some glasses to recognize him. The doctor has difficulty understanding, though...
...lone representative of middle-class moralism, the doctor takes a series of questionable positions on this problem. Mr. Shepard and Mr. Finnegan neatly present their doggedly simple, suspicious characters they provide the perfect backdrop for Mr. Benedict's gorgeous moral acrobatics...
Power also differs with any suggestion that the U.S. must not be the first to use nuclear weapons in any future war. Throughout history, he argues, "regardless of any prevailing moral concepts, new weapons never remained 'unconventional' for long because, in the eternal struggle for power and survival, nation after nation had to acquire and use these weapons until they became quite conventional-and moral." He foresees that the U.S. might use "nuclear munitions" in local wars where American soldiers are "vastly outnumbered by the Communists." Further, it is "conceivable" that the U.S. may some day have...
...Hear a Waltz?, a musical adap tation of of Arthur Laurents' 1952 play, The The Time of the Cuckoo, is a victim of jets and jet-set moral obsolescence. It is not old enough to be nostalgic and not new enough to ring true. It asks playgoers to believe that a thirtyish Madison Avenue copywriter (Elizabeth Allen) is making her first gaga-eyed trip to Venice. And it compounds disbelief by imagining this girl to be psychologically numb-struck and emotionally unhinged upon discovering that her Italian vacation lover (Sergio Franchi) is married. She cries when the curtain goes...
Thus this action melodrama, based on an actual incident, pretends to concern itself with a moral problem: whether to save the masterworks or spare the men. It must have seemed a dull question to Director John Frankenheimer, who simply shunts morality onnto a siding and concentrates on the conflict between a fanatic villain and an athletic hero, playing tug of war with real trains. The results are exhilarating, but only in a muscular...