Word: styles
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Dates: during 1970-1979
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...just another Texas-style party. At a lavish ranch outside Austin last spring, some 300 ranchers, bankers, oilmen and politicians drank, ate barbecue, smoked pot and paired off for lovemaking. The only unusual aspect of the weekend-long party was that the guests were homosexuals. In an East Coast version of the Texas party, the cruise ship Renaissance sailed out of Fort Lauderdale, Fla., for the Caribbean last December carrying some 300 homosexuals, including doctors, lawyers, architects and businessmen...
Abortive Attempt. The film is a blend of animation and live action. Like Director Bakshi's previous inexplicable successes, Fritz the Cat and Heavy Traffic, the movie labors under the delusion that outrageousness is a synonym for wit, ugliness of line and color a form of style, crudeness a necessary ingredient of vitality...
...reassurances: the currents in this work are complex, but Scott's style is lucid and well tethered to physical realities. The novels are serious, but they are also a weaving of well-told stories, and reading them gives no sense of swallowing a moral pill. For those who must have comparisons, the most apt one that comes to mind is Ford Madox Ford's four-volume meditation over the coming apart of the British Empire, Parade's End. Those few who have read Ford's magnificent work will know that the comparison is high praise indeed...
...Style and hemline are more pertinent than they should be to Farewell, My Lovely because Director Dick Richards (Rafferty and the Gold Dust Twins) seems mostly interested in matters of decoration. No use telling him or Screenwriter David Zelag Goodman that just under his plots, Chandler was writing about Los Angeles, about levels of corruption, about resistance to the hard sell and the strong arm. Those are difficult matters to deal with, and Richards and Goodman avoid them. Goodman wrests a standard mystery plot from the book that Chandler considered his best. Richards uses it as an excuse...
...major effort to house and feed French and Belgian refugees, she divided her time between an estate north of Paris and a villa on the Riviera. Much of her later work was little better than contemporary soap opera, written by formula to keep her expensive life-style going. But the best of it, like The Age of Innocence, returned to the once despised world of her childhood, which she dissected with loving care. Such is the in exorable irony of nostalgia...