Word: vulgarism
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Dates: during 1970-1979
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...native ground Peter De Vries, in Forever Panting, is off again, a touch more vulgar than before, word-playing his way through another marital war. This one includes a husband who develops a yen for his surrogate mother-in-law. John Cheever and Bernard Malamud have collections of short stories, both domestic, the one (The World of Apples) waspish and suburban, the other (Rembrandt's Hat) Jewish and urban. Evan S. Connell Jr., once more roving far from the Bridges of Kansas City, has produced Points for a Compass Rose, a poetic meditation upon the pain and perplexity...
...Aires in a search for guerrillas. Campora's promise to release jailed guerrillas who will work for "national liberation" brought a stinging rebuke from General Elbio Anaya, the Second Army Corps commander whose predecessor was gunned down by guerrillas. The army, said Anaya, will not permit amnesty for "vulgar, unscrupulous assassins" under any circumstances...
...structural familiarity spreads itself into the story. Camille Bliss (Bernadette Lafont), thoroughly resistable convict, is the subject of a sociology thesis on "Criminal Women." Camille has nothing going for her at all -- ingnorant, vulgar, even hook-nosed--and yet Stanislas (Andre Dussollier) chooses her as subject over, we are told, an axe murderer and a homicidal Pole, for no discernable reason. No matter. From the outset, her insidious charm is clear. And that's half the story -- her complete captivation of Stanislas, the dryest of men, competent and professional but obviously ill-at-ease, even rapped, when placed...
...story is too traditionally Truffaut -- a confrontation of innocence (equated with intellect) and brazen, vulgar ignorance that becomes a gutter sophistication. The ending, with Camille's inexplicable ascendance and her final betrayal, are barely believable. Truffaut assists her with a foil in Helene; nondescript where Camille is vibrant, proper where she is vulgar, and whose studied disapproval of the experiment masks incipient love. At the end of the film she and Camille pass at the jailer's desk during visiting hours; Camille on her way out, Helene unable to get in. As the film ends, she types the manuscript...
...letting the ears lie back," Charles Ives said). He insists instead on treating the solo instruments and the singing or acerbic melodies as individuals, free to speak for themselves for as long as it takes them. Above all you can hear it in his trust for the most vulgar, most basic element of music: "Poetry atrophies when it gets too far from music," wrote Pound, "and music atrophies when it gets too far from the dance...