Word: soulfulness
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...19th centuries, from Greece, Crete, Czechoslovakia, Rumania, Bulgaria. How can God, whose sight no living man has endured, be representable in a picture? The Orthodox were fundamentalists about that evident problem, but subtle ones: as the impression is to the seal that makes it, as the body to the soul, as the accidental to the essential, they reasoned, so the representation is to the spiritual reality...
...average man will commit atrocities whether he be American, Asian, German, British, Israeli or Arab. War-not the morality of an individual man-should be the subject of all this misplaced soul-searching...
Dead Anyway. The movie is well served by the shimmering, bleached-out color photography of Conrad Hall. It Is obvious from the opening scenes, however, that this is most deeply Director Polonsky's picture. Author of the remarkable script for Body and Soul ("Everybody dies!"), Polonsky made his directorial debut with another John Garfield movie, Force of Evil, in 1948. An ode to gangsterism and individual morality, it passed almost unnoticed on initial release. As a lifelong proponent of the sort of radical politics frowned upon during the witch hunts of the 1940s, Polonsky did not long escape...
...Every character is a complex personality. In one gambling house de Witt, hunting "the Great Unknown," is distracted by the sight of an extraordinary woman, the Countess Tolst. He leaves the card table to walk to the couch on which she reposes. In two minutes Lang gives us her soul. We see no shallow temptress, no abstract sentimental heroine. The countess is sophisticated and very intelligent; she has come to watch the colorful characters of the casino because polite society no longer interests her. Yet her sophistication and present boredom do not preclude intense love. We feel the truth...
...suicide. The acts of mental terror through which Mabuse controls his henchmen are cheap mechanical gimmicks. Even the scene transitions emphasize the physical. In Dr. Mabuse, the Gambler each cut to a new scene added new fantastic settings, new wonders for the intellect, new dimensions in depth for the soul. Here they limit freedom of action, tie the physical to the physical in an ever-closing...