Word: progressing
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Dates: during 1960-1969
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...during which many had dismissed him as an overly obsequious vice regent. "I will do everything I can for the cause of peace in the world," he told a wildly enthusiastic audience of A.F.L.-C.I.O. leaders in Baton Rouge, La. "I will do everything I can to keep social progress moving forward in America. And I ask your help, and the help of all Americans, in doing this." Responded Victor Bussie, the Louisiana A.F.L.-C.I.O. president: "There are many thousands of us who hope you will be a candidate...
...students, as though we should be "grateful" just to be at Fair Harvard. "Veritas" as a motto is a farce. There has been a failure of those in academia to come to grips with the substantive issues in reality, without some form of condescension or patronization; they say that progress has been made, while defining that progress themselves. We are no longer fooled...
...Kubrick's superb film has a problem, it may simply be that great philosophical-metaphysical films about human progress and man's relationship to the cosmos have one strike against them when they attempt to be literally just that. Rossellini's radiant religious films or Bresson's meditative ascetiscism ultimately say far more, I think, than Kubrick's far-more-ambitious attempt at synthesizing genre and meaning...
...Dorian Grey, a silent and spongy presence who absorbed power from the gratuitous violence continually inflicted on him, an embodiment of the unrecognized depths of violence latent in a comically arch-typical family group. The Smurtz of Mr. Moss's staging is still a physical butt, who in the progress of three acts is whipped, stabbed, clouted and generally knocked about by a group of people who refuse even to recognize his existence. But dressed in a vinyl union suit blazoned with commercial trade-marks (Bufferin, Vat 69, Rise) and bits of Old Glory, he is now something else, something...
...absorption. But at the point in the third act when he and Hamlin finally stand face to face, no amount of individual stagecraft can forestall the recognition that they are acting in different plays. Hamlin, for better or whose, is playing a text about an individual's realization that progress is an illusion and a cheat. Shuman is playing an elaborate directorial conceit concerning the corporate bankruptcy of American life. Where the juxtaposition of these characters might create tension, it begets doubt, and where it might suggest final insight, it conjures up only a conceptual mis-match...