Word: restraint
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Dates: during 1960-1969
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Eventually the idea of sexual restraint became an important element in that brocaded bag of tricks known as courtly love. But it took the cleverness of Baldassare Castiglione, a 16th century popularizer of Platonic love treatises, to humanize the conceit for sophisticated courtiers. In The Book of the Courtier (1528), Castiglione distinguished between sensual love and what he called rational love. Rational love, he said, puts greater emphasis on the senses of sight and hearing. He argued that as conduits for soul mergers, the eyes and ears are superior to the mouth, which responds to the inflammatory sense of touch...
Though Paul McCracken is a socially sensitive man who fully recognizes the dangers involved, he argues on behalf of the Administration that "We have no alternative but to risk overstaying with policies of restraint." Economist Gabriel Hauge, chairman of Manhattan's Manufacturers Hanover Trust Co., agrees: "The nation has to run the risk of getting into a recession. We should not be afraid of overkill...
...meet corporations' vast appetites for loans in the face of the credit shortage, U.S. banks borrowed $13.3 billion in Eurodollars?U.S. dollars in private hands abroad?and brought them home. The board finally closed that loophole by imposing a 10% reserve requirement on borrowed Eurodollars. Thereafter, the banks circumvented restraint by issuing vast quantities of commercial paper ?unsecured promissory notes. Belatedly, the Reserve Board plugged that loophole by placing an interest-rate ceiling on commercial paper. Now, big Manhattan banks have found still another gap in the Federal Reserve's regulations. To raise funds for domestic loans, they have...
...heightened, given immediate meaning for the character involved, as much by its understated acting as by its simple shooting style. Carol Dempster has come far from the frolics she and Lillian Gish gave Griffith's films of the earlier twenties. And Adolphe Menjou, as Satan, is the model of restraint. For him a grimace or devilish leer would be an unspeakable faux pas. But Griffith, far from leaving him a polished gentleman without depth of character, makes his slightest gestures personally significant. Menjou is eating dinner with Ricardo Cortez in the grandest of opulent restaurants. The conversation takes...
GRIFFITH'S restraint, simplicity, and economy of means pay off in increased dramatic force for every action. There's less detail, but it's all out front, working directly on us. His control of secondary incidents is complete: one gasps when a man with dark glasses simply appears at Cortez's wedding and stands in front of Dempster. Our terror increases when in close-ups, her face is partly blocked by the edge of his sleeve...