Word: tragic
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Dates: during 1960-1969
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...walk away, sad but not surprised. Somehow, my friend's arrest doesn't seem unexpected. This is the tragic and beautiful land of Kazantzakis' Freedom or Death. Each generation has to offer its own sacrifice to regain the same, always incomplete, freedom of its fathers...
...most significant opening for students who respond critically and negatively to the world about them. If they come to the faculty rigidly and dogmatically prepared to defend radical positions at all costs, they will get nowhere and defeat their own purposes. The consequences of this rigidity are often a tragic waste of essentially fine human materials. On the other hand, if they come in some degree prepared to be convinced as well as to convince, and if they are also willing to do the hard work necessary to demonstrate their intellectual mastery of the evidence, their impact can be enormous...
...prospect is for more and more massive demonstrations against the war. However, if they merely replay the romantic and potentially tragic script of the march on the Pentagon, they will impair not only the cause they hope to represent, but the cherished American tradition of dissent as well. "The whole thing ended so meanly," Labor Secretary W. Willard Wirtz said almost sadly before the Yale Political Union. "There must be a great many people who feel they were discredited by a few who distorted dissent into obscenity...
...British National Theater does have one unique advantage: the star power of Sir Laurence Olivier, whose undisputed ability to depict fallen tragic heroes is matched by his less-famed skill at depicting tragicomic grotesque nobodies. Death's nobody is Edgar, an aging Swedish army captain quartered on an island. Symbolically, it is an out post of hell, an arid devil's island of an awful marriage that has lasted almost 25 years. Wife Alice (Geraldine McEwan) is a viper-vampire, bleeding her husband of self-respect. She refuses to let him forget that he never rose...
...small but pivotal part, Hemmings is properly revolting as the evil princeling, and Harris invests his role with dignity and tragedy. But it is Vanessa Redgrave who emerges as the film's most telling virtue-a touching, tragic beauty whose elongated face and aristocratic grace are reminiscent of a medieval tapestry. Without her, Camelot would be disastrous. With her surprisingly true voice and regal talents, it has its brief, shining moments, though in the end Camelot is reduced to Camelittle. Arthur's final nostalgic song seems less a memorial for the dream castle that never was than...