ellauri083.html on line 376: Farrow has steadfastly supported her daughter throughout the years—but in Allen v. Farrow, she says she has also grown accustomed to Allen attacking her character and parenting skills in the press. (For decades Allen has claimed that Farrow coached Dylan, goading her into accusing Allen after Allen left Farrow for Previn.) Farrow explains her conflicting feelings to the cameras, saying that she wholeheartedly supported Dylan’s decision to write a 2014 op-ed for The New York Times outlining the abuse she claims to have suffered. But privately, Farrow admits in the docuseries, she “crumpled up inside,” knowing that Allen would likely resume his media attacks on her. “He couldn’t go after Dylan, because she was a child at the time, so he’d come after me.”
ellauri156.html on line 481: And explain he does; Uriah's words to his commander-in-chief are as stinging a rebuke as David receives from Nathan in the next chapter. Uriah clearly understands that what David once encouraged him to do (i.e. go to be with his wife) he is now strongly urging -- even commanding -- him to do. Uriah humbly but steadfastly refuses to do this:
ellauri171.html on line 978: She represents a view of womanhood that is the opposite of the one extolled in characters such as Ruth the Moabite, who is also a foreigner. Ruth surrenders her identity and submerges herself in Israelite ways; she adopts the religious and social norms of the Israelites and is praised by the tentmen for her conversion to "The" God. Jezebel steadfastly remains true to her own beliefs.
ellauri222.html on line 757: Saul Bellow is widely recognized as America's preeminent living novelist. His fiction, which is as intellectually demanding as it is imaginatively appealing, steadfastly affirms the value of the human soul while simultaneously recognizing the claims of community and the demoralizing inauthenticity of daily life. Refusing to give in to the pessimism and despair that threaten to overwhelm American experience, Bellow offers a persistently optimistic, though often tentative and ambiguous, alternative to postmodern alienation. In their struggle to understand their past and reorder their present, his protagonists chart a course of possibility for all who would live meaningfully in urban American society and make loads of money.
xxx/ellauri176.html on line 161: In a 1977 review, Vincent Canby of The New York Times criticized the plot, with its reliance on fantastical elements such as amnesia, as "a mixture of social realism and Walt Disney". He also called the acting "steadfastly unconvincing."
xxx/ellauri176.html on line 164: is first of all a misnomer because the priest is alive and well at the end. A mixture of social realism and Walt Disney, it is a tale about a delicate young French priest, Father Mouret (Francis Huster), who elects to take a parish in the provinces where the peasants have long since embraced every sin there is. The priest himself successfully sublimates his own lustful thoughts in prayer until one day he meets a strange young woman, Albine (Gillian Hills), who lives with her atheistic uncle in the remains of an old chateau set in the middle of a magic garden.Well, one thing leads to another and poor Father Mouret loses his memory long enough to lose himself to worldly pleasures in the garden with Albine, who, like Eve, tempts the man, though in this case the author is clearly in favor of apple-eating. Things go very badly for the couple. The priest returns to his church and Albine commits suicide in a way that is unique in my movie-going memory: She smothers herself to death with calla lilies.The actors are steadfastly unconvincing. The one interesting character in the film is an old lady we meet only after her death—someone, we're told in shocked tones, who, during the Revolution, posed naked as a living-statue of Reason.
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