Word: nightmarish
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Dates: during 1960-1969
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Exactly what is happening on Brattle Street are three one-act plays, all written by young Americans and all deeply rooted in the nightmarish decade that is now grinding to a halt. A decade of snipings and war, assassinations and drugs, Tiny Tim and Aretha Franklin- Morning, Noon and Night is not so much about these things as of them. And such is the stuff we are made of- we and night mares...
Money Needed. The giant jets face other obstacles. Few major airports are equipped to handle the massive passenger flow that the new planes will bring. Yet by the end of next year, the 747s are expected to be flying to cities across the U.S. and in Europe. Some nightmarish tangles could lie ahead. Airports will need billions of dollars in the next few years to improve and enlarge terminal facilities alone, and nobody knows where the funds will come from. The prospect of raising the money has been made even more difficult by congressional proposals to limit the tax-free...
...Ingmar Bergman awoke from a tortured sleep, seized a camera and began to film what he had just been dreaming. Reality is distorted and logic becomes madness in The Ritual, Bergman's most nightmarish fantasy since The Silence. In the claustrophobic office of some anonymous bureaucrat, three actors (Ingrid Thulin, Anders Ek and Gunnar Böornstrand) perform a bizarre masque, part psychodrama, part sexual charade. They are like the mummers from The Seventh Seal or the circus performers from The Naked Night imprisoned in an allegory of doom. Inevitably the object of the masque is death...
...nearby hills will cause devastating new erosion. An alternate solution-getting the gravel from river bottoms -poses yet another problem. The future of migratory fish like salmon, which lay their eggs in stream bottoms, will be endangered. In short, the fabulous oil strike might turn the tundra into a nightmarish wasteland...
...opens with Marlowe's gaudy word-painting about the pleasures of boys and other toys, and with a searching kiss on the mouth by which Edward welcomes his favorite, Gaveston. It ends with a death scene in which Marlowe dredges the most profound pity up from the most nightmarish sensationalism: the deposed king dragged from the castle cesspool, half mad and dripping with muck, washed and soothed and kissed by his murderer in the lingering tender dialogue with which a frightened lover is put to sleep. Then smothered with a feather blanket, crushed beneath an upturned table. Then legs...