Word: swain
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Economist Edward M. Bernstein '28 and science writer Roger B. Swain '71 also participated in the symposium...
...Rockwell that his "special triumph is in the conviction his countrymen share that the mythical world he evokes actually exists . . . He understands the hunger, and he supplies the nourishment. The hunger is for the Good Old Days --the black-eyed tomboy, the hopeless, lovable pup, the freckle-faced young swain . . . sensations which we no longer have but still seem to want; dreams of innocence before it went corrupt." Reagan also understands the hunger. He does not delve cynically into the layers of American memory. He is not as mythically cute as Rockwell. He is simply saturated in the American identity...
...word crawling preface. Yet it is as simple as a bedtime tale, and may have the same effect: putting the kiddies right to sleep. Lili (Mia Sara) is a fairyland princess, all coquettish glances and sweet mischief. Her beau, Jack o' the Green (Tom Cruise), is a swain of the woodland working class. When Lili touches one of the magic white unicorns--can't have your bucolic fantasy without some unicorns--the Lord of Darkness (Tim Curry) begins to work his evil alchemy. And the film, which has been reclining under glass, content to be admired like pictures...
Sean Penn is tops. Madonna's bad boy was a wartime swain in Racing with the Moon, a pinwheeling bozo in The Falcon and the Snowman. Here he is all static electricity, forcing a smile through the sour taste in his mouth, weighing filial devotion against conventional morality, trying to figure out what his body will tell his brain to do next. And when, at the climax, he confronts Brad Sr. over a string of domestic crimes ("Is this the family gun, Dad?"), Penn gives the movie, and his career to date, a sensational payoff. Worry over the film...
...Philharmonic. Video Arts International; $79.95; hi-fi mono. Pride of place belongs to this classic, filmed at the Salzburg Festival and released in 1962. The cast is the cream of central Europe at the time: Schwarzkopf, regal but warm in what was her greatest role; Jurinac, an ardent youthful swain; Rothenberger, silvery voiced and breathtakingly beautiful; and Edelmann, a bumptious hick from the sticks. Karajan's mastery of the score so gloriously displayed on his 1957 Angel recording with Schwarzkopf is evident in every energized...