Word: shelley
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Dates: during 1960-1969
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...premiere in Paris in 1932 and in the U.S. only last month. Like his more prolific friend and fellow Yankee, the late Charles Ives, Ruggles writes dissonant but cogent and original music. Sun Treader is a sober, seamless, one-movement tribute to a tragic hero, for thus Browning addressed Shelley eleven years after he was drowned ("Sun-treader, life and light be thine forever!"). Performed by the Columbia Symphony Orchestra, Zoltan Rozsnyai conducting...
...because she has never been to school, a blind girl gropes through a squalid, nightmare life. Her name is Selina. All day long she sits alone in a city tenement, stringing costume-jewelry beads to earn her keep. Her grandfather (Wallace Ford) is a maudlin old drunk. Her mother (Shelley Winters at her strident best) is a fat, vicious trollop who accidentally caused Selina's blindness years ago, now despises her for deserving pity...
Great men sometimes have idiot children. Novelist William Faulkner, for instance, produced two volumes of verse. Republished under one cover after being out of print for several decades, they made an arrestingly gruesome twosome. The Marble Faun, written when Faulkner was 21, is a dollop of schoolboyish Shelley-shallying in which Pan and Philomel pipe and warble, and every other word is ah or ye or 'neath or hark. A Green Bough, published when he was 36 and should have known better, seems on the contrary the work of a village Eliot...
...beauty (Claudia Cardinale) and her brother (Tomas Milian) struggle vainly to find meaning or purpose in existence. Mother (Paulette Goddard, in a series of unflattering closeups) is a faded gentlewoman whose unscrupulous lover (Rod Steiger) has entered a bid for Claudia and the family estates. Meanwhile, an aging adventuress (Shelley Winters) arduously lures young Tomas to her bed. He acquiesces at last because all choices seem meaningless. Ultimately, meaninglessness infects the film as a whole, and Indifference is remarkable only for Steiger's highly concentrated performance as a doughy but vigorous go-getter whose lechery lends an acetylene brilliance...
...20th century seems more death-ridden than any other. Yet mass death is strangely impersonal; an 18th century hanging at Tyburn probably had more immediate impact on the watching crowd than the almost incomprehensible statistics of modern war and calculated terror have today. In the last century, Byron, Shelley, Keats and a whole generation of young poets haunted by romanticism and tuberculosis could be "half in love with easeful Death," wooing it as they would woo a woman. Even before World War I, German Poet Rainer Maria Rilke could still yearn for "the great death" for which a man prepares...