Word: verbalisms
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Dates: during 1970-1979
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...Conservatives were in opposition, she was promoted to the front bench, which allowed her to shine in debate. In 1967 she joined the shadow cabinet and held a number of portfolios, including housing, transport and education. She also spoke up on treasury matters. Some Tory backbenchers remember vividly the verbal exchange that marked Thatcher as a fighting lady to be reckoned with. Chancellor of the Exchequer Denis Healey, who is renowned for his brutal wit, had just dubbed her "La Pasionaria of Privilege." Thatcher ignored the pointed insult. "Some Chancellors are micro-economic," she answered coldly. "Some Chancellors are fiscal...
...revenge. I've turned down over 30 people who wanted in for the same reason as Charles Bronson in Death Wish-because somebody in their family has been attacked." Recruits are first tested for reflexes and ability to go without sleep, then for tolerance of verbal abuse, as Sliwa calls them "nigger" or "spik," the least of the taunts they may get in the subway. Nearly every volunteer has been excited by The Warriors, a film in which street gangs plot to take over New York. Among the fired-up who have been accepted are ten whites, six blacks...
...opportunity to make yet another appeal for passage, saying that the industry is "already awash" with profits. The occasionally populist President shows a deep distrust of large oil companies, and they are perfect targets for a bit of demagoguery because much of the public dislikes them too. Carter's verbal overkill is also intended to deflect public fury from the White House when gasoline prices, which are already rising sharply, go up even more as a result of decontrol...
Mariel Hemingway as Allen's 17-year-old lover suffers the same verbal excess. When Allen tells her he has found another woman, she responds, "We have laughs together. We have good times. Your concerns are my concerns. We have good sex." The curtain of the drama rips to reveal a scriptwriter desperately hanging more significance on the lines than they can handle...
Take simply the matter of visual style. His early films had a good workman's lack of clutter, and since Allen was almost as fond of visual parody as he was of the verbal kind, they showed an ability to ape the masters. Beginning with Sleeper (1973), a conscious coherence, a striving for a certain elegance came into his films, growing through Love and Death (1975), becoming lush and nicely jumbled in Annie Hall (1977), turning austere to the point of being mannered in Interiors...