Word: sexualism
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Dates: during 1960-1969
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They live in overmortgaged, underserviced blue-collar ghet tos where they pay a stiffer price - in poor schools, en croaching throughways and war casualties - than do affluent whites across the city lines. Most of them still believe in God, country, the work ethic and a sexual standard that calls for at least a decent public restraint. In a day of diz zying moral change, they see themselves as the last defenders of moral authority. That is why they still admire the military and regard the police as heroes. The New York Times's Tom Wicker had a revelation...
Passionate Urge. Wells, in one of his favorite words, had the "woosh" of a man who judges everything to be within his grasp. When his first wife proved a sexual disappointment, he took a second. When the second wife proved a superb hostess-manager-but another sexual disappointment-he kept her and took mistresses, including the novelist Rebecca West, who in 1914, when she was 22 and he was 48, presented him with...
...movement requires an austere and disciplined life. Members follow four rules: no sexual relations outside of marriage, no intoxicants (drugs, alcohol, coffee, or cigarettes), no gambling, and no gambling, and no meat-eating...
...space inside returns later in exteriors of the cafe which seem Expressionist: the hero wanders through the shadow-filled darkness barred from light, warmth, security. But the stove, like the stage at the end, gives the light a different meaning. Light is the core of the Romantic being, whether sexual (Dietrich, whose skin and hair shine) or metaphysical (the fire in the stove). Janning's pursuit of light, though it leads him into humiliation and death greatens his soul. Sternberg's emphasis on light-attraction over darkness' terror, on personal triumph in the middle of degradation, are Romantic themes whose...
...inside Dietrich's dressing room by a clown and a "professor" of magic who implicitly mock Jannings' position. The impingement of settings and objects on Jannings' security climaxes in a song sequence where Jannings seated in a theater box, is distracted by a ship's nude figurehead and other sexual objects. But his attention is captured by the true embodiment of these themes, namely Dietrich, and as the film proceeds her power in his perceptions transcends all else...