Word: moralizing
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Dates: during 1960-1969
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...began to realize that the complexity of a problem shouldn't be a reason not to do anything." There was another influence working as well: "As my husband and I have grown older, we .have become increasingly aware of our Christian responsibilities and more deeply committed to our moral obligations, and this, too, led to my decision to participate...
...argument for immediate withdrawal comes in many forms. To some of its advocates, a kind of moral imperative is involved?the war is evil, the U.S. has no right to be in Viet Nam, the Saigon government is rotten and without popular support...
...demonstrated by Charles de Gaulle, who firmly liquidated the French commitment in Algeria, despite all earlier pledges to the contrary. The result was a massive exodus of Frenchmen from Algeria and a temporary loss of national prestige; eventually, though, De Gaulle extricated France from an overwhelming financial and moral burden. In much the same way, a unilateral withdrawal from Viet Nam would free the U.S. from an impossible situation. A frank acceptance of defeat would clear the air, gain America credit for moral courage, and enable the U.S. to start working on a rational foreign policy beyond Viet...
...Shadow of a Doubt moral interplay was expressed in cross-cutting between characters. In Under Capricorn moral interplay becomes a complex flow of all the characters' emotions to a single climax and resolution. The graceful motion, deep color tonalities, rich settings unite with the characters' moral paralyses. One is completely involved in their struggles to overcome paralysis. The spaces and movements of the film are integrated as the characters' attempts to fufill their desires, now a theme beyond the person of any one character, become a part of the whole romantic setting...
Hitchcock's usual superiority to his characters gives way to a character study. Despite Perkins's supposed psychological complexity, we know him through his charming mannerisms, his strong moral opinions, his reactions to other people. Hitchcock abandons a manipulative shooting style for one that is simply assured. From the opening sequence, a series of pans over Phoenix succeeded by a track into a dark hotel window, one feels a solid engagement with the character's personal situations. The people of the film exist in the world, not in relation to some abstract scheme intended for moral edification...