Word: joyously
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...Elena picks up the relation between privileged performer and plebeian audience where the ending of French Can Can leaves it, namely in a state of joyous common participation in a social spectacle; it transforms this relation into one of sorrowful class distinction. The ending of Elena forces its high-born heroine to adopt the dominant mood of her whole social surrounding, but it denies her a role within it. The inner door-frame, which in early Renoir let privileged heroes pass into the free milieu of the street, here becomes a window that locks the aristocrats into their milieu...
...despite 23 per cent unemployment and 45 per cent inflation, even though the U. S. birth rate has dropped to zero, though there are still divisive elements in our country which have not been eliminated, the American people have once again risen to the challenges of happiness in this joyous season...
...that similar demonstrations might flare up again, particularly if nothing is done about the causes that sparked them. As a final irony, it may be that the atheist leaders of Poland have been given a respite by the mere fact that the riots broke out just before the most joyous of Christian feasts. By heritage, Poland as a nation would be more inclined to spend the season-even a season of discontent-merrymaking at home rather than troublemaking in the streets...
...commentary on the class nature of its own images, on the political repression of signs and symbols with vertical, class implications for the benefit of pure representation, appropriation, fetishism of objects. Kjell learns about the pleasures of pure aesthetics from the liberal, cultured wife of the factory owner. The joyous pronunciation of "Pierre Auguste Renoir" becomes a sign for irresponsible privilege and political obliviousness in a sequence intercut with familiar images of Kjell's mother doing washing for the rich. Widerbeg demonstrates the duplicity of his own horizontal aestheticism in a context of social inequalities a hierarchy of wealth...
...rock beat. What follows this seemingly incongruous prelude is a swirling, eye-and ear-catching panoply of ballet maneuvers, from chastely classic lifts to Broadway shuffles, set to an eclectic score (by Alan Raph and Lee Holdridge) that blends the modish and the modal. The climax is a joyous, foot-stamping, yet thoroughly unblasphemous rock version of the Ite, missa est chant that ends the Latin Mass. At the diminuendo finale, the dancers lay rows of votive lights across the stage and drift silently, monkishly, into the wings...