Word: nietzschean
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Tiny Alice, by Edward Albee, is a delaying action of adroit theatricality designed to conceal a clutter of confused thought. Albee preaches "resign yourself to the mysteries," but in this quasi-metaphysical suspense melodrama he practices only mystification. He brings the playgoer through the Nietzschean revelation that "God is dead" to the Sartrean discovery of the absurdity of existence. Albee adds that man creates God in his own image, a profundity he presumably shares with many sophomores, past and present. Who's Afraid of Virginia Wool)? rang with the brassy gong of reality; Tiny Alice is a tinny allegory...
Tracing her death to philosophy, or sex, or confusion demands a clearer characterization than the movie offers. The philosophic explanation presents Nana as fantastically sensitive, young Nietzschean who gains fulfillment in a self-styled artistic ("Everything's beautiful") rebellion. Like the Joan of Arc she cries over in a movie, Nana dies a martyr's death...
Pickpocket. French Director Robert Bresson launches an excursion into the cold world of Nietzschean philosophy as he takes his hero, a pickpocket, through a series of emotional situations. The film propounds paradoxes: that man must sin to be saved, that the road to heaven is paved with bad intentions...
Pickpocket. French Director Robert Bresson launches an excursion into the cold world of Nietzschean philosophy as he takes his hero, a pickpocket, through a series of emotional situations. The film propounds paradoxes: that man must sin to be saved, that the road to heaven is paved with bad intentions...
...plot is a palingenesis of Dostoevsky's Crime and Punishment. Like Raskolnikov, the hero (Martin La Salle) is a penniless student with Nietzschean notions about crime: "Some men are stronger and more talented than others and have the right to break the law. Their crimes revitalize society." Such thoughts impelled Raskolnikov to murder; they inspire Michel to pick pockets. The crimes differ in seriousness, but not in spiritual effect. In both cases, the crime compels the hero to experience successively sin, guilt, despair, contrition, atonement, love...