Word: playwrighting
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Grand gestures and heroic sacrifices come naturally to the Poles, along with an alarming capacity for martyrdom. The 19th century playwright Stanislaw Wyspianski called long-suffering Poland "the Christ of nations" because of its capacity for anguish. Joseph Stalin is said to have remarked that bringing Communism to Poland was "like trying to saddle a cow." He did it anyway, but a nation of rebellious, romantic anti-Russian Catholics proved to be troublesome from the beginning. Most Poles never
...Exchange. A trio of free spirits have wry and funny flings at love in the modern mode. A dandy playwright debut for Kevin Wade...
...film is subtly shot from Reed's point of view--staring after his wife as she charges down the stairs, moving in on a rally--and when the camera turns on him it gazes with the dewy eyes of a cheerleader. Beatty and his co-writer, the British playwright Trevor Griffiths, have clearly done heaps of research on the politics of the period, but they have buried it all in the film's margins and between the lines; they use the Russian Revolution and leftist ideology to add texture, while dramatically the film is shaped entirely by the love story...
...said, "He had a reckless equilibrium in walking life's tightropes"; Walter Lippmann called him "one of the intractables," possessed with "an inordinate desire to be arrested." Max Lerner praised his "Faustian thirst for life"; Upton Sinclair dismissed him as a "playboy of the social revolution." Journalist and playwright, Harvard cheerleader and Moscow radical, consciousness-and hellraiser, Reed embraced contradictions as he ran like an Ivy League halfback through an archetypal American life-full, frustrated, tragically short. He knew everybody, did everything. His life was a passionate sonnet scrawled on a Wobbly poster-and when he finished the poem...
...colleagues like Henry Miller, Adela Rogers St. Johns and Rebecca West, who offer a Kane-like kaleidoscope of memories. The rest of Reds is a nonstop narrative that climaxes with skyrockets over Red Square and finds its denouement in a lovely Liebestod. The script, by Beatty and British Playwright Trevor Griffiths (with help, reportedly, from Elaine May and Robert Towne), is a series of small quick steps that deftly transport Reed from Pancho Villa's Mexico to Emma Goldman's Greenwich Village to Eugene O'Neill's Provincetown to everybody's Petrograd-and take Louise...