Word: visione
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Dates: during 1940-1949
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Everything but Mammy. The Song of Bernadette lacks the razor-edged realism, the urgent poetry, the freshet-like creative vitality of great cinema or great religious vision. Sometimes its too high cinematic and religious gentility betrays itself awkwardly, as in the efforts of the cast to say maman (French for "mamma"), which is pronounced practically every way except mammy. But within its limits, most of The Song of Bernadette is reverent, spiritually forthright, dignified. The photography is continuously elegant. Most of the cast (especially Gladys Cooper as a Mistress of Novices) plays with unusual soberness and intensity...
...Resulted in a coating for glass lenses that greatly increases visibility (by reducing light reflection). In a submarine periscope, for example, it improves vision...
...Will, he had already turned out many volumes-Death of a Nobody, which won sincere critical praise, popular plays on the level of Broadway thrillers, poems, esoteric novels, mildly erotic, but too keenly perceptive to be pornographic, expositions of his theory of unanimism, experiments in telepathy, in Extra-Retinal Vision. He was also a lecturer in philosophy, and a one-man conspiracy with hush-hush dealings with people like King Leopold of Belgium, General Gamelin, Premier Daladier, Otto Abetz, then Chief of Nazi Propagandist in France-under the delusion (as ingenuously described by him in his Seven Mysteries of Europe...
...bloody gutters of Paris in the days of the guillotine-could not stand up against the ghastly reality of Bolshevism. The liberal hope of an intelligently adjusted international order of compromise and arbitration could not stand up against the expiring incompetence of the League of Nations. And each new vision of a world brotherhood was weighed down by the tragic fate of its predecessors...
Foreshadowing the fruition of that talent is the earliest of the 23 drawings with which Author Lehmann-Haupt records the growth of Dore's style. It is the childhood vision of his Strasbourg schoolroom. Its squirming, unposed action bespeaks an eye that never let go of much (an asset unmistakable in a later-year impression of a London crowd, which echoed the same theme of hellishly snarled humanity). In the early schoolroom satire there is also more than a suggestion of how little the artist was ever able to let go of his mother. When she died...