Word: storming
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Dates: during 1960-1969
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Despite differences in content. Griffith's dramatic vision agrees intriguingly with Hawthorne's. He uses apparently straight moral romances to express unsettling notions of behavior. Characters embody not simple virtues and vices, but complex obsessions: the marquis of Orphans of the Storm personifies the insanity of decadence as surely as Hawthorne's Chillingworth contains the full perversity of hellish guilt. At the roots of his complex plot construction lie details quite at odds with the pure sentiments to which his characters aspire. His films form an elaborate psychological autobiography through the diverse characters between whom they alternate...
Tents on the Lawns. By Weather Bureau reckoning, Camille was the most violent storm ever to strike the U.S. The hurricane's fury-210-m.p.h. winds and waves up to 22 ft. high-fell most savagely upon the Delta parish of Plaquemines, La., and a 35-mile shorefront strip of Mississippi from Pascagoula to Waveland. Both areas remain a jumble of devastation. Hundreds of homes, motels and other business establishments stand roofless or without walls. Uprooted trees, torn chunks of pavement and twisted iron fences bestrew the roadsides. Some families are living in tents on their front lawns...
...critical report. Most of the controversy centers around Commission Member Erskine Wells, a lawyer whose firm represents many insurance firms, and State Insurance Commissioner Walter Dell Davis, an ex-officio member of the commission, who has been accused of being too cozy with insurers. In the wake of the storm, the commission hastily approved a 50% rate increase along the Gulf. Last week public outcry and political pressure prompted the commission to postpone the rate rise until after it holds another hearing. Considering the $135 million in storm losses they face, insurance companies may be justified in raising their rates...
...lectures them on piety, gives them money, then disappears down the road-with a dwarf that suddenly appears at his side. A chauffeur gives them a lift, but when one of the pilgrims mutters "Ah, God," the men are unceremoniously booted out of the car. Seeking shelter from a storm, the beggars are transported to the 14th century, where a heretical sect seeks salvation through orgy. At an inn, a priest (Francois Maistre) defines the dogma of transubstantiation-and then is carried off by a pair of asylum attendants...
Nunn set the scene in the half-light and intermittent flashes of the storm, and had a huge (about 12 feet tall) and very realistic bear rise out of the blackness behind Antigonus, pick him bodily up, and carry him off, the final action drowned in a scream of loud and hopeless terror, amplified, so that it reverberated in the ear drums. The whole thing was terrifying and convincing, as it should be. The switch, then, to the Shepherd and his son the Clown, was entirely in keeping with the Shepherd's words...