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Does anyone still care? Sure, a little. Director Jean-Pierre Melville keeps his expert cast zipping right along, pursued by a camera that emphasizes the gritty black-and-whites of his murderous milieu. Admittedly hooked on oldtime U.S. gangster movies, Melville manages to make Paris look like the back lot at Warner Brothers. Doulos, in consequence, seldom seems more than an ambitious hybrid, a gangland epic with Gaul...

Author: /time Magazine | Title: Cinema: Fromage-ca! Les Flics! | 3/6/1964 | See Source »

...honest satisfactions of snobbery" found in Vogue's pages by the Times reviewer appear only in the sections on society. With few exceptions, the editors succeed in their aim of presenting "a level judgment of quality in people, places, manner, and milieu...

Author: By Susan M. Rogers, | Title: Vogue's Bizarre World | 12/19/1963 | See Source »

...believe that the attitude that sexual intercourse before marriage is morally wrong in the Harvard milieu stems from a cultural belief of long standing concerning sex-segregation. Western culture as well as so-called primitive cultures has recognized roles and activities which were distinctively "male" or "female." ... ritual myths and taboos were invented in certain cultures concerning the contaminating effect of women and their magical ability to injure or harm man.... I feel that the attitude of the Deans toward sexual intimacy is another expression of the myth that women distract or contaminate men through sexual attractiveness...

Author: NO WRITER ATTRIBUTED | Title: PARIETALS | 10/16/1963 | See Source »

...teachers, also, can benefit from the milieu of the university. In colleges such as Yale, where art is taught, the faculty members of the art department enter into the intellectual life of the community: they can provide important humanistic influence and learn from contact with faculty of other disciplines. Scholars in the social sciences find it useful to mix with men from other fields; the artist and his students are no different in this respect...

Author: By Joseph M. Russin, | Title: The Case for Creativity | 5/22/1963 | See Source »

Clearly, Antonioni chooses a milieu of wealth because the rich have more leisure for being "in public," for reducing each other's wives, and, generally, for picking at each other" psyches. Although he is conscious of class barriers, his analysis of human nature is by no means limited to the upper classes. One could apply it with less force, to any group. Antonioni doesn't do this because High Society is the clearest case for his moral insights. At any rate he is hardly a Marxist...

Author: By Raymond A. Sokolov jr., | Title: Le Amiche | 5/14/1963 | See Source »

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