Word: flatterers
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Dates: during 1970-1979
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...core problem is that Americans have been told by the press that our heroes are those who flatter us uncritically, who make us feel better by doing the work of liberation for us. They periodically awaken the sympathy which we use to cover for our inactivity. The press uses heroism to mean sensationalism, grandstanding. Real heroism lies in the courage of everyday life which some people find to rebuild this world despite the obstacles. Though no paper covered it, the heroism in the woman's response to the addict is the only cure to the fear in the younger girl...
MAILER'S MONROE is a repository for hoary legends and dirty jokes told about starlets in general. And in the process reveals at least as much of the Mailer that we already knew than any new insight he has provided about his subject. His language is perhaps no flatter than anyone else who tried to write 90,000 words in 60 days, but it is not much better than his account of the Frazier Ali fight which he wrote on deadline for Life. In Marilyn, Mailer coins at least four new words: "fucky" as the description of her earlier roles...
...night of a big high school dance thinking myself a failure as a person because no one had asked me. Most of the girls I knew were trained to serve the sexual code--in the expertise of how to win a man and keep him, how to flatter and flirt and sell their wiles. We disguised the jagged edges of our personalities to pander to the male appetite, and we sacrificed any principle for male applause. Trying to be siren seductresses was our assent to passivity and receptivity and all that men had laid down the definition of women...
...boss and stole his job by telling everyone else how she did all his work. The author pays lip service to women's fight for equal pay and equal opportunities for advancement, but Lee is his true heroine. She anticipated his advice to another young woman: "Be tactful, flatter, maneuver rather than attack." She was good at "playing the games which are instinctive to successful men, and which women are only just beginning to learn...
Rivette cannot rival the lush symmetry of Bertolucci's camerawork but his structure and psychological treatment make Tango, with its inconsistent plot and shallow characterization, seem even flatter by contrast. Rivette's psychology has its limits as well -- tendencies toward surrealism narrow its view, violence becomes stylized and unbelievable towards its end -- but the basic insights are sound. Sex is merely sketched in Rivette's work, but his actors have a greater sensitivity which produces a far more sensual result than Brando's mechanical and purposeless simulations...