Word: nolan
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...most recent book, The Voyage, is a splendid new presentation of old poems. These versions of 14 poems by Baudelaire appeared among Lowell's "translations" of a number of poets in his Imitations of 1958. The significance of The Voyage lies both in the accompanying paintings by Sidney Nolan and the exclusive selection of the Baudelaire imitations. The paintings and poetry are of equal importance and--as Lowell describes them--"absolutely welded together...
...rule against Baird, they will have accepted the traditional arguments--that statutes against contraceptives inhibit illicit intercourse, and therefore properly aid the state in furthering morality in the Commonwealth. The arguments on that side are briefer: they make up a thirteen-page document by Assistant District Attorney Joseph A. Nolan...
This prophetic conception of Nolan could have provided a fascinating ambiguity in the Charge of the Light Brigade. For the futuristic coldness of Nolan reveals his incompetent and neurotic superiors in a new, more humane light. Soldiers who fight wars as though they were on parade will produce horrendous disasters, but through it all they retain a certain character, and, one feels, the potential for charity. As Nolan unknowingly predicts before leaving England, the campaign in the Crimea would mark not only the last of the gallant wars, but the first of the modern ones. When the Charge is over...
...FILM does not pursue this ambiguity faithfully: Nolan's professionalism is allowed to lapse into bursts of more conventional anger and passion. This is a concession to history, since the real Captain Nolan seems to have been as tempermental and irrational as his superiors, a fact which was largely responsible for the fatal Charge itself. But it is a concession which obscures the most interesting action of the story, which is the frightfully painful transition from the age of chivalry to that of total war--from Waterloo to Verdun...
...what the Charge of the Light Brigade meant, but simply to show us how it looked. And this, for all the cast of thousands and the vast expanses of eerie, treeless Turkish landscape, is something which Richardson doesn't really succeed in doing. Individual sequences are sometimes breathtaking--Nolan delivering the order to charge from the heights, the Brigade advancing down the valley at a slow trot, the final torrential surge of the survivors through the Russian cannon. But hovering above the whole elaborately-conceived spectacle is its museum-like quality: the generals watching the action from the heights above...