Word: successful
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Dates: during 1960-1969
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...which made America great, her people rich and her opportunity unlimited." Allying himself with America's impatient younger generation, Evans observed that the young have "served notice that satisfaction cannot be measured alone by productivity, that there is a need for service and contribution beyond the attainment of material success...
...example, however, and his success at Cierna, is not likely to be lost on other Communists in Eastern Europe, or even in the Soviet Union. The time of testing for all concerned is thus far from over. Indeed, it may well be just beginning. Freedom is a high-spirited experience, and Dubček has yet to demonstrate that freedom and Communism can be combined. The Kremlin seems to have given him a chance to prove...
...Golden Screw is a pretender to the folk-rock name which rejects our commitments to urban-ness, peace and humanity and insults our perspicacity. It idealizes instead a Dylanesque young folk singer who goes through the protest song stage into electronic rock on the rock road to success. At the end, when our hero is king of the music mountain, he sings a last rock song about "Flipping Out". Then he asserts his individuality by saying "fuck you" to the world in general and the audience in particular, and singing again the quaint folk song "Little White Dog" which began...
...folly is acted out against the Nazi takeover of Central Europe, and the cast is varied and larger than could possibly be packed on a stage. The hero Stanley is a young Jewish playwright from Ohio, talented but vain, who is battening on the smash success of his first Broadway comedy. He falls in love with Stephanie von Arnim, a beautiful, aristocratic Austrian actress, and goes to live in her Salzburg castle with the hazy intention of fashioning a comedy for her talents and her accent...
...final breakdown of the worlds comes in a violently sensual display of color. Audran, coming out into the open, crosses the barriers Chris has established between his lives, destroying forever his success as a hidden prime mover. The lush blues we identify with Christine and, we realize in retrospect, with the dead Paola, are disrupted by Audran's red dress, then by the blackness of the stocking with which Christine and the other girls are strangled. The violence of the deed is muted by the awesome lushness of the images, textures of decor which make murder a forbidden ritual...