Word: scarum
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Dates: during 1970-1979
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...complex, to Beame, counterattacking a week later, it was "simple and compelling." In fact the word simple reappears throughout Beame's speech, as if to put the whole situation back on the understandable, individual terms from which Ford tried to remove it. Where Ford uses his strange, harum-scarum words for New York, Beame uses them for a federal government that won't come through--it's the government, not the city, that would bring on tragedy, plague, exorcism, humiliation, impoverishment and evasion. The government's non-intervention may threaten to open the floodgates to all sorts of abnormal...
...Stoeckel wins the quarterback derby, Harvard's offense may undergo a transformation in character. Restic is already talking about going more to ball control and less to the kind of harum-scarum attack that he used with Crone at quarterback. Without a breakaway runner or a long passer, the entire offensive picture could become several degrees more conservative. With Stoeckel at the helm, Harvard fans are likely to see more controlled drives and low-scoring games. The QUARTERBACKING looks VERY GOOD TO EXCELLENT...
Penn's first half spate was marked neither by the domination and penetration of Navy nor the harum-scarum boldness of Williams, but by a honed execution, by cutting midfielders, and by hard, mid-air shots...
...deliberately bombed was backed up last week by a not-always-friendly source, Columnist Joseph Kraft. During his own current tour of North Viet Nam, Kraft reasoned that if the U.S. Air Force were "truly going after the dikes, it would do so in a methodical, not a harum-scarum way." Summarized Kraft: "I have to conclude from what I have seen that there is no deliberate American drive to bomb the dikes. But the dikes do run parallel to many roads. Some are close to railroad tracks and bridges." Inevitably, some dikes have been hit in error, Kraft believes...
...girl pursued by a homicidal maniac. But in Wait Until Dark, Playwright Frederick Knott used a series of ingenious devices to keep the killer and the audience dangling. In See No Evil, Scenarist Brian Clemens offers no motivations and precious few plot twists. Nor is his head-on harum-scarum approach improved by Richard Fleischer's blunt direction, which favors sudden cuts to broken corpses and sadistic closeups of a girl precipitously tumbling into catatonia. Manifestly, Fleischer is out for only one thing: to inspire sudden fear. That he does, but at the expense of taste. The two were...