Word: myths
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Dates: during 1960-1969
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...York Timesman Rusk destroyed the napalm myth, the London Economist just as effectively disposed of another anti-U.S. allegation: that U.S. bombers are indiscriminately killing South Vietnamese civilians. U.S. bombing policy, noted the Economist, is based on "two apparently contrary, yet complementary principles. In certain special zones or in areas where full-scale operations are being waged against the enemy, the bombing is devastating and relentless. But in areas which contain civilians, the most elaborate ground rules are in force to try to stop them from being hurt...
...throughout Britain. Three major newspapers--the Times, the Observer, and the Sunday Times--had at first reacted to the student protest with hostile editorials calling for a better "moral climate" in the nation's universities. Last week-end they did an abrupt about-face, exposing, for example, the Administration myth that the protest was the work of a small minority of "foreign agitators" as "completely wrong...
...such thoughts here. Saturday night, conductor F. John Adams exploded this musical myth and several others. In addition to mounting the Mozart-Sussmayr Requiem complete, Adams had Robert Levin compose an Amen fugue to follow the sequence Dies irae. Levin's fugue was based on fragments left by Mozart which Sussmayr, for some obscure reason, preferred to leave untouched. Brief but masterful and prodigious, the fugue sported a long Brahmsian timpanum roll which acted as a tonic pedal bringing the fugue to conclusion. It was another plume for Levin's many chapeaux...
...Shot Liberty Valance, the newspaper editor says, "This is the West. When the fact becomes legend, print the legend," Ford's films show the legend. His world is diffused by time, by memory and nostalgia, by folklore and myth. In How Green Was My Valley, Ford's adaptation of Llewellyn's novel of Welsh coal miners, the story resembles a dream, seen in retrospect by a man who has had his entire life to romanticize the past: his childhood and his family. Ford is not interested in reality but in subjective viewpoint, not fact but romance and legend...
...never lets the celebration sink into earthiness. The movie's like a Greek myth where the protagonists are not garden-variety nymphs--they're Olympic deities. The director of photography, Claude Renoir, maintains the splendor. When Miss Fonda and McEnery make love within glass walls, he catches their undulating yellow reflection. When they make love in a grotto, he touches the French greenery with junglelike lushness. He creates out of Vadim's always bizarre locations (waterfall, soccer match, duck pond, crumbling villa, go-go costume party) a continuous paradise. The movie seems all grass and gold...