Word: true
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Dates: during 1960-1969
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...Chekhov in his late plays fused the "as it is" with "as it should be"; he took a moral position. True, he did adopt a quasi-realistic diction with its illogicalities, its wandering directions, its repetitions; but he was skillful enough to infuse it with a marvelous rhythm and a sort of poetic evocativeness. (This technique strongly affected the plays of our own O'Neill, Odets, and Hellman.) The director and the players--and, indeed, the audience-- must be able to catch unspecified implications, to apprehend not so much what is said as what is consciously or subconsciously thought...
...titular sisters, Olga, in her late twenties, is the eldest, and she opens and closes the play. Marian Seldes has beautifully caught the quiet suffering of this reluctant schoolteacher, subject to headaches, who is finally forced into still more responsibility as a headmistress. She has the true manner--of a proper spinster schoolmarm, and her sense of duty is reflected in her ramrod-straight carriage...
...WOULD SEEM, then, the Mrs. Lessing leaves little to believe in. And the statement is indeed true when applied to the first five-sixths of the book. However, there is another movement afoot. For a number of years now, a friend of mine--something of a neo-classicist himself--has been adamant in insisting that a New Romanticism is upon us. I've rarely argued the point with him, for one can hardly be unaware of the fact that we (the Now Generation, right?) are entering a new era (the Age of Aquarius, of course) where all we really need...
...despite his name, Sternberg, born in New York, had directed his nine previous films in America and after 1930 made thirteen more with which Blue Angel is completely consistent. It is true that Blue Angel is his most German work; so Scarlet Empress is similarly his most Russian and Morocco his most Arabic...
...professor" of magic who implicitly mock Jannings' position. The impingement of settings and objects on Jannings' security climaxes in a song sequence where Jannings seated in a theater box, is distracted by a ship's nude figurehead and other sexual objects. But his attention is captured by the true embodiment of these themes, namely Dietrich, and as the film proceeds her power in his perceptions transcends all else...