Word: whore
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...research prior to your article on Mr. Norman Ayrton [Crimson, March 20]. Mr. Ayrton is in fact the third visiting director of high caliber to visit the Loeb Drama Center since 1971. In 1971 Stuart Vaughan taught acting and produced "Tis Pity She's a Whore" with a student company on the Loeb Mainstage. Likewise in the Spring of 1972 Hal Scott also taught acting and his production of "Indians" is possibly the best piece of theatre seen at the Loeb in the past five years...
Love and Anarchy is not, however, a proletarian version of Day of the Jackal. It is equally about Tunin's being able to bring himself to commit this act of violence and about his love affair with a young whore (Lina Polito), who arouses and assuages him as the day of assassination draws closer. Tunin is no bold gunman. He is assaulted by fear, lulled by affection for the whore. It is never certain that he will be able to make his slightly mad attempt on Mussolini...
...fetishists crave--and who has read Faulkner and is not in a small way a fetishist for facts about this mysterious man? Although I do not consider my own hero-worship of dead authors excessive, I did find it interesting that Faulkner patronized Aunt Rose Arnold's New Orleans whore-house at Chatres and Jackson Square. Similarly, Blotner's account of Faulkner's Hollywood years is as interesting as Time's "people" section...
...title of this quite remarkable French film assumes inflections of meaning as the weights and balances of the relationships shift. It appears at first to refer separately to each of Alexandre's women. The whore would be the desperately promiscuous nurse. The mother appears to be the severe Marie, whose bursts of passion and stern, sometimes hysterical anger draw Alexandre to her. It becomes clear after a time, though, that both Veronika and Marie share the same qualities. They are, in fact, reciprocals of each other, embodiments of the masculine ideal of the female, mother and whore at once...
...Mother and the Whore has the energy and quick, almost surreptitious illumination of the best improvised work. The low-contrast black and white photography gives the film a cool, as tringent look that cuts nicely against the gathering force of the script. Jean Eustache, who is 35 and whose previous work (Santa Claus Has Blue Eyes) has been shown in the U.S. only at a few museums, planned every move and wrote every word of the 3½-hour assault. The length, which hurts only occasionally, is a part not only of the design of the film but its final...