Word: youngs
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Dates: during 1960-1969
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...Fonda) is a brassbound bitch from the Dust Bowl. Robert (Michael Sarrazin) is an open-faced kid from a farm. Sailor (Red Buttons) is a Navy veteran whose ship has gone out. The man running the marathon-and carrying the movie-is a dime-store Barnum named Rocky (Gig Young). The son of an itinerant faith healer, Rocky has read the book on corruption and added footnotes of his own. Disgusted at what people-including himself-will do for money, he articulates the film's message: "There can only be one winner, folks, but isn't that...
Still, as a footnote to American history, They Shoot Horses, Don't They? is invaluable. The entire cast-particularly Young and Fonda-understands the era when existence seemed one long bread line. The penciled eyebrows, marcelled coiffures and bright, hopeful faces change by degrees into ghastly masks; the bodies seem to pull against a gravity that wants them six feet underground. The music goes round and round, and so do the actors, in a coruscating dance of death. It is a pity that the picture is not left to them. The film makers should have known better than...
...Yates knows how to shape even the sketchiest scenario, and if John and Mary is no deeper than an eggshell, it is every bit as functionally designed. Mia Farrow adds an otherworldliness to her character by reciting her lines as if they were cabala. Hoffman, one of the shrewdest young actors in the business, manages to be at once predator and victim. But when the film tries to make the audience care for the characters, it proves bankrupt. For beneath the Manhattan chatter and the glossy confrontations, John and Mary is as empty as a singles bar on Monday morning...
...decades after F. Scott Fitzgerald's This Side of Paradise, young novelists spent their energies on books about college life suffused with sophomoric philosophizing and romantic despair. Then came J. D. Salinger's The Catcher in the Rye, William Golding's Lord of the Flies, and a spate of imitative books about troubling and precocious children. Since the late '50s and Jack Kerouac's On the Road, the picaresque adventures of rebellious youth seeking wisdom through forbidden experience have been the dominant theme. Now, perhaps, William Harrison's superb second novel-about four contemporary...
...machinery of the story is simple. One night, drunk and excited at the sight of blood (from a razor slash on one of their wrists), four young men draw numbers from a hat and seemingly in jest agree to kill themselves in order, without revealing the pact or the motive. The four are loners, dependent upon each other in tangled psychological ways. Adler is a fat, ugly and lonely neuter from the Ozarks, who cannot reconcile his hillbilly background with his aspirations in botany and his love of dance and literature. Pless, a young psychologist whose feelings have been frozen...