Word: conscious
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Dates: during 1970-1979
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Take simply the matter of visual style. His early films had a good workman's lack of clutter, and since Allen was almost as fond of visual parody as he was of the verbal kind, they showed an ability to ape the masters. Beginning with Sleeper (1973), a conscious coherence, a striving for a certain elegance came into his films, growing through Love and Death (1975), becoming lush and nicely jumbled in Annie Hall (1977), turning austere to the point of being mannered in Interiors...
...accounts, Allen lives by his own precepts. Says Brickman: "Woody is scrupulously honest and ethical in the dog-eat-dog business of entertainment. He is a good example, because he has a high moral sense." That includes playing the not always grateful part of the only conscious moralist in Manhattan. Onscreen, Murphy accuses him of playing God (Woody's reply: "I've got to model myself after someone.") Offscreen, Murphy, who is a close friend, says, "Woody could have made a safer picture, like Annie Hall. This film is a lot tougher, harder-edged. And it was a bold step...
...John Paul's view, men spend years preparing to take vows, and once they have done so, that commitment should be indissoluble. He spoke of "the inner maturity" and "personal dignity" of "keeping one's promise to Christ, made through a conscious and free commitment to celibacy for the whole of one's life." A priest, he then added, should not seek an "administrative" remedy, as though a matter of conscience were not involved...
...Fred Jewett '57, dean of admissions and financial aid, who lived in the Yard from 1958 to 1976, points out that in the '50s and early '60s graduate schools and professional schools were an "easy assumption" for Harvard undergrads. By 1975 the choice was a more conscious one, and downturns in the economy placed a further question mark beside any career plans. Jewett recalls that not only freshmen, but even high school applicants asked frequently about the road to professional school--students were "more conservative, less adventurous, and less willing to do something that could put them...
...over. Both the film-makers and the main characters were adventures--creating special effects on an unprecedented scale--and part of the film's charm lies in the breathless sense of discovery that infuses every shot, heightened with each passing reel. It's something Dino De Laurentiis' repulsive, self-conscious, exploitive remake never touches. And it's as good now, because today so much of it--Fay Wray's hysteria, the chases, Max Steiner's delightful but overdone score--seems tongue-in-cheek. And we got to suspend our disbelief. Really suspend it. Until we're yanked in. "'Twas Beauty...