Word: rage
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...second accent might be called ritualized rage. It is irritating, infuriating, a deliberate shock tactic that also provides relief and release for those who use it. It can be turned on at will. This does not mean that it is phony, that much of the anger isn't real; but it is controlled, a game, and not without its dangers. The third accent is true despair -not tough, not raging, but steadily bitter, the result not of hopelessness but of insufficient hope. It is the third accent, of course, that is the most deeply disturbing. Black militancy continues...
Until recently, Italians accepted this "dictatorship of the bureaucracy" with sad fatalism. Lately, however, unhappiness has changed to anger. Since last autumn, all sorts of groups-firemen and farmers, nurses and teachers-have gone on strike, as much in rage against the government as in quest of higher pay. Now, after 20 years of study and a year of parliamentary debate, Rome is finally responding. This week, in what may eventually be regarded as the most significant Italian election in two decades, 30 million Italian voters are choosing regional councils that will transfer considerable power from the capital...
...Nichols was not making Super-M-A-S-H. From the beginning, he was aware that laughter in Catch-22 was, in the Freudian sense, a cry for help. It is the book's cold rage that he has nurtured. In the jokes that matter, the film is as hard as a diamond, cold to the touch and brilliant to the eye. To Nichols, Catch-22 is "about dying"; to Arkin, it is "about selfishness"; to audiences, it will be a memorable horror comedy of war, with the accent on horror...
Producer Alexander Cohen still remembers with awe when Nichols called him one night to rage: "This theater is in total darkness!" One of the 30 lamps on the balcony rail was flickering. Saint Subber's marrow freezes when he remembers Nichols' insistence that The Odd Couple set be repainted 24 hours before opening. When he cast Barefoot, Nichols was even more demanding. "Mike insisted on getting a real telephone man or a taxicab driver to play the telephone man," recalls Subber. "I thought: this has to be a put-on. But I ended up getting a cab driver?...
Chillingly Sexless. The play also is vivified by the extraordinary performance in the title role of Alvin Epstein, one of the Yale Repertory directors. He hates. His eyes glitter with refrigerated rage at everyone, including himself. In an elegant, Hamletesque black doublet, his body is rigid with a tension that can never find release-even in the contemptuous dalliances that occupy his time. He talks constantly of his freedom, but he is incapable of breaking through into the real, accepting freedom of love. His only power is to destroy whatever he can touch-the innocent troth of a country girl...