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Wandering dazedly through New Jersey's port town of Perth Amboy, Shane O'Neill, 39, son of tormented Playwright Eugene O'Neill, proved to have torments of his own in the ill-starred family tradition. Hauled in by sympathetic cops, unemployed Family Man (four children) O'Neill, twice committed to public hospitals in the past for dope addiction, was carrying on him a large bottle of amphetamine pills, a prescription drug sometimes used by former addicts to curb their craving for stronger fixes. Rapped $55 for not having a narcotics user's identity card...

Author: /time Magazine | Title: People, Jun. 15, 1959 | 6/15/1959 | See Source »

Another "younger" writer, whose book Shane you mentioned with approbation, wasn't named at all. "No story exists without an author, so let the name of Jack Schaefer be blazoned on your pages. He wrote Shane...

Author: /time Magazine | Title: Letters, Apr. 27, 1959 | 4/27/1959 | See Source »

...western a sudden sympathy flashes between hero and villain, as though somehow they feel themselves to be secret sharers in a larger identity. Often the hero cannot bring himself to kill the villain until fate forces his hand, and then he performs the act almost like a religious sacrifice (Shane...

Author: /time Magazine | Title: WESTERNS: The Six-Gun Galahad | 3/30/1959 | See Source »

...part of the western hero to behave like a man. And in such pictures as John Ford's Stagecoach and William Wellman's The Ox-Bow Incident, the mythological struggle between Good and Evil was enacted on the personal plane; while in George Stevens' Shane and in Fred Zinnemann's High Noon, the western hero for the first time in movie history had to face what that struggle really means: the necessity of moral choice. For the first time he experienced his free will, his individuality...

Author: /time Magazine | Title: WESTERNS: The Six-Gun Galahad | 3/30/1959 | See Source »

...genres, both called "Westerns," one of which has been relegated mainly to television, the other of which is being produced in equal quantity by contemporary Hollywood. This second species, of which Bad Day is an example, can roughly be described as some combination of the High Noon plot, and Shane ethos, and a gimmick...

Author: By Paul A. Buttenwieser, | Title: Bad Day at Black Rock | 2/24/1959 | See Source »

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