Word: mother
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Dates: during 1960-1969
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...Victor McLaglen played the informer as a wounded bull. Mayfield portrays him as a dray horse, faithfully clopping to the fadeout. The Informer was consistently Irish. If Up Tight's cast is Negro, the script is in straight blackface, with such lines as "Nonviolence is a self-defeating mother." Its bogus climaxes are reminiscent of the '30s' group-theater lyricism, as when Tank wails at a smeltery, "You noisy beautiful bastard, remember me?", or when he roars, "The city is killing me ... it's killing both of us." Because Up Tight was filmed in the ghetto...
Once upon a time (c. 1910) there was an inventor named Caractacus Potts (Dick Van Dyke). He and his two children-apparently spawned by autogenesis, since there is no mention of a mother-live with their potty Grandpa (Lionel Jeffries) and a bunch of malfunctioning machines, ingeniously designed by Rowland Emett. Like the man who invented five-up and six-up and then gave up, Caractacus falls just short of greatness. His vacuum cleaner not only cleans the rug, it swallows it. His color television set just broadcasts wobbles. His Icarus act fizzles when the rockets tied to his back...
...American system, but the migrants were presented as the actual guardians of all of the national verities: family loyalty, trust of neighbor, devotion to the land. Steinbeck's dogma was uncommonly wholesome for a radical of the '30s. Avoiding customary Communist cliches, he affirmed children, home, mother and young love. "Nothin' but us," says Ma Joad, "nothin' but the folks...
...more post-Freudian snigger at the sexual vagaries of yesteryear. In a sense, such treatment would be warranted. Ruskin did, after all, get through six years of marriage without bedding his wife. He later asserted that he had come to feel that Effie was unfit to be a mother...
Happily, in piecing together this story, frequently through quotations from Erne's outraged letters to her mother, British Biographer Mary Lutyens goes beyond mere sex, or the lack of it, to the daily arena of a marriage gone irretrievably bad. She examines relentlessly the small social grievances, the resentful pinprick rivalries that gradually engulf and demean everyone concerned. In the orgiastic 1960s, Ruskin's sexual abstinence would be regarded for Effie as a fate only slightly better than death. Effie lived in an age inclined to view "all that" more as a duty than a cheerful privilege, however...