Word: vulgarisms
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...drab days in a furnished room in Rome seem well behind. It is typical of Author Moravia that conjugal hell lies just a step away from marital contentment. For at about this point Emilia takes to sleeping alone, begins to be less indifferent to the vulgar producer, and makes it plain that Riccardo bores her. The rest of A Ghost is a battle between the sexes fought out on the battlegrounds of character and personality, areas in which Moravia is one of the world's living masters...
...possible benefits of attendance by the press. Its widespread reporting of what goes on in the courts may well prove a potent force in restraining possible abuse of judicial power. This being so, justification for excluding the press in this case may not be found in the sensational and vulgar coverage which the proceedings may have been receiving in some newspapers, and which evidently disturbed the trial judge...
...effect, Von Salomon claims to have shied away from the Nazis because he despised them. Their goals were not so bad, though their excesses were perhaps unfortunate; Hitler sometimes struck him as being loathsome and Goebbels and Goring as too ridiculous and vulgar. He would not join them-he was never, apparently, convinced of their ultimate success-but neither did he feel that he wanted to speak against them. He decided to be a spectator. He saw many of his friends hunted down by the Nazis, realized sooner than most that Germany was being led to destruction, but from...
...servant who turns revolution ary and finds his new power as bitter as his old servitude. The Italian libretto is full of mysterious letters, whispered warnings and preposterous melodramatics. Nevertheless, the opera does convey tremendous theatrical excitement and a sharp sense of the great revolutionary ideal that turned into vulgar tyranny. Particularly rousing in the Met's otherwise conventional staging: the trial scene, with a vicious mob of women in the courtroom bleachers demanding Chénier's blood...
...chance to hint at the charm and initial love which wins Isabel's hand, Robert Flemyng's Osmund is to perfection the egoistic tyrant the script prescribes. With Archibald's assist, however, one performance makes all the others seem drab. Cathleen Nesbitt draws from the role of Osmund's vulgar sister a vibrant bitterness which bursts from the genteel monotony of the play. Her acid interpretation, less dilute with silliness than James' conception, gives the lines a brilliance which illuminates the last two acts. In her scenes there is an eloquent portrait of a lady; the play offers no other...