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She is required to pull off what sounds like an impossible trick. Armed only with a wide-eyed look, she must be the object of the film as much as its subject, must allow herself to be the empty vessel that the movie slowly fills. And yet, at the same time, she must with a little help from the Cowardly Lion carry the entire emotional weight, the whole cyclonic force, of the film.

That she achieves both is due not only to the mature depth of her singing voice but also to the odd stockiness, the gaucheness, that endears her to us precisely because it is half unbeautiful, jolie-laide , instead of the posturing adorableness a Shirley Temple would have brought to the role—and Temple was seriously considered for the part. One can imagine the disastrous flirtatiousness young Shirley would have employed, and be grateful that Twentieth Century Fox refused to loan her to M-G-M.

In this, the transitional sequence of the movie, when the unreal reality of Kansas gives way to the realistic surreality of the world of wizardry, there is, as befits a threshold moment, much business involving windows and doors. Second, Dorothy, returning with Toto from her attempt at running away, opens the screen door of the main house, which is instantly ripped from its hinges and blown away. Third, we see the others closing the doors of the storm shelter. Fourth, Dorothy, inside the house, opens a door in her frantic search for Auntie Em.

Fifth, Dorothy goes to the storm shelter, but its doors are already battened down. Sixth, Dorothy retreats back inside the main house, her cry for Auntie Em weak and fearful; whereupon a window, echoing the screen door, blows off its hinges and knocks her cold. She falls upon the bed, and from now on magic reigns.

For in the book there is no question that Oz is real—that it is a place of the same order, though not of the same type, as Kansas. The special-effects shots, sophisticated for their time, include a lady sitting knitting in her rocking chair as the tornado whirls her by, a cow placidly standing in the eye of the storm, two men rowing a boat through the twisting air, and, most important, the figure of Miss Gulch on her bicycle, which is transformed, as we watch it, into the figure of the Wicked Witch of the West on her broomstick, her cape flying behind her, and her huge, cackling laugh rising above the storm.

The house lands; Dorothy emerges from her bedroom with Toto in her arms. We have reached the moment of color. But the first color shot, in which Dorothy walks away from the camera toward the front door of the house, is deliberately dull, an attempt to match the preceding monochrome.

Then, once the door is open, color floods the screen. Thinking back once again to my Bombay childhood, in the nineteen-fifties—a time when Hindi movies were all in black-and-white—I can recall the excitement of the advent of color in them. Dorothy, stepping into color, framed by exotic foliage, with a cluster of dwarfy cottages behind her, and looking like a blue-smocked Snow White, no princess but a good, demotic American gal, is clearly struck by the absence of her familiar homey gray. But Dorothy has done more than step out of the gray into Technicolor.

Her homelessness, her unhousing , is underlined by the fact that, after all the door play of the transitional sequence, and having now stepped out-of-doors, she will not be permitted to enter any interior at all until she reaches the Emerald City. From tornado to Wizard, Dorothy never has a roof over her head.

You can almost hear the M-G-M studio chiefs plotting to put the Disney hit in the shade—not simply by providing in live action almost as many miraculous effects as the Disney cartoonists created but also by surpassing Disney in the matter of the little people. If Snow White had seven dwarfs, then Dorothy Gale, from the star called Kansas, would have a hundred and twenty-four.

The Munchkins were made up and costumed exactly like 3-D cartoon figures. The Witch Is Dead. This type of verbal play continues to characterize both songs. Amid all this Munchkining we are given two very different portraits of adults. She has a high, cooing voice, and a smile that seems to have jammed. Interestingly, though she is the Good Witch, the goodness of Oz does not inhere in her. The people of Oz are naturally good, unless they are under the power of the Wicked Witch as is shown by the improved behavior of her soldiers after she melts. How is it that this squashed Witch had no castle?

How could her despotism have left so little mark upon the land? Why are the Munchkins so relatively unafraid, hiding only briefly before they emerge, and giggling while they hide?

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Moreover—and, again, unlike her sister—she seems to have ruled without the aid of soldiers, policemen, or other regiments of repression. Why, then, was she so hated? I only ask. The power center of the film is a triangle at whose points are Glinda, Dorothy, and the Witch; the fourth point, at which the Wizard is thought for most of the film to stand, turns out to be an illusion.

The power of men, it is suggested, is illusory; the power of women is real. Check out their clothes: frilly pink versus slim line black. No contest. Consider their attitudes toward their fellow-women: Glinda simpers upon being called beautiful, and denigrates her unbeautiful sisters, whereas the Wicked Witch is in a rage because of the death of her sister, demonstrating, one might say, a commendable sense of solidarity. It seems probable that this confusion is a hangover from the long, dissension-riddled scripting process, in which the function of the slippers was the subject of considerable dispute.

Fields and Ed Wynn. What contemptuous wildness Fields might have brought to the role! The first choice for his female more-than-opposite number, the Witch, was Gale Sondergaard, not only a great beauty but, prospectively, another Gale to set alongside Dorothy and the tornado. Then I found myself staring at an old color photograph of the Scarecrow, the Tin Man, and Dorothy, posing in a forest set, surrounded by autumn leaves, and realized that what I was looking at was not the stars at all but their stunt doubles, their stand-ins.

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It was an unremarkable studio still, but it took my breath away; for it, too, was both melancholy and mesmeric. In my mind, it came to be the very epitome of the doubleness of my responses. The part of us that has suspended disbelief insists on seeing the stars, and not their doubles.

Thus, the stand-ins are rendered invisible even when they are in full view. They remain off camera even when they are onscreen. To look at this photograph is to look into a mirror; in it we see ourselves. We have become the stand-ins. A pair of ruby slippers found in a bin in a basement at M-G-M was sold at auction in May, , for the amazing sum of fifteen thousand dollars. The purchaser was, and has remained, anonymous.

In point of fact, the skip continues to grow throughout the journey, and becomes a full-fledged h-hop. FALSTAFF Marry, then, sweet wag, when thou art king, let not us that are squires of the night's body be called thieves of the day's beauty: let us be Diana's foresters, gentlemen of the shade, minions of the moon; and let men say we be men of good government, being governed, as the sea is, by our noble and chaste mistress the moon, under whose countenance we steal.

As, for proof, now: a purse of gold most resolutely snatched on Monday night and most dissolutely spent on Tuesday morning; got with swearing 'Lay by' and spent with crying 'Bring in;' now in as low an ebb as the foot of the ladder and by and by in as high a flow as the ridge of the gallows. And is not my hostess of the tavern a most sweet wench? And is not a buff jerkin a most sweet robe of durance? Do not thou, when thou art king, hang a thief. O rare! By the Lord, I'll be a brave judge.

But, Hal, I prithee, trouble me no more with vanity. I would to God thou and I knew where a commodity of good names were to be bought. An old lord of the council rated me the other day in the street about you, sir, but I marked him not; and yet he talked very wisely, but I regarded him not; and yet he talked wisely, and in the street too. Thou hast done much harm upon me, Hal; God forgive thee for it! Before I knew thee, Hal, I knew nothing; and now am I, if a man should speak truly, little better than one of the wicked. I must give over this life, and I will give it over: by the Lord, and I do not, I am a villain: I'll be damned for never a king's son in Christendom.

You have good leave to leave us: when we need Your use and counsel, we shall send for you. Exit Worcester. An inn yard. Enter a Carrier with a lantern in his hand First Carrier Heigh-ho! What, ostler! Ostler [Within] Anon, anon. First Carrier I prithee, Tom, beat Cut's saddle, put a few flocks in the point; poor jade, is wrung in the withers out of all cess. Enter another Carrier. As they are sharing, the Prince and Poins set upon them; they all run away; and Falstaff, after a blow or two, runs away too, leaving the booty behind them.

In respect of the love he bears our house: he shows in this, he loves his own barn better than he loves our house. Let me see some more. I say unto you again, you are a shallow cowardly hind, and you lie. What a lack-brain is this! By the Lord, our plot is a good plot as ever was laid; our friends true and constant: a good plot, good friends, and full of expectation; an excellent plot, very good friends. What a frosty-spirited rogue is this! Why, my lord of York commends the plot and the general course of action. Is there not my father, my uncle and myself? What a pagan rascal is this!

O, I could divide myself and go to buffets, for moving such a dish of skim milk with so honourable an action! Hang him! I will set forward to-night. During this time, he wrote free verse influenced by Walt Whitman. We can break down those artificial conduits and canals through which we do so love to force our utterance. We can break the stiff neck of habit […] But we cannot positively prescribe any motion, any rhythm. Lawrence rewrote many of his novels several times to perfect them and similarly he returned to some of his early poems when they were collected in This was in part to fictionalise them, but also to remove some of the artifice of his first works.

As he put it himself: "A young man is afraid of his demon and puts his hand over the demon's mouth sometimes and speaks for him. In the deep, strange-scented shade of the great dark carob tree I came down the steps with my pitcher And must wait, must stand and wait, for there he was at the trough before me.

From "Snake". We have come through! Ezra Pound in his Literary Essays complained of Lawrence's interest in his own "disagreeable sensations" but praised him for his "low-life narrative. Tha thought tha wanted ter be rid o' me. Tha thought tha wanted ter marry an' se If ter couldna be master an' th' woman's boss, Tha'd need a woman different from me, An' tha knowed it; ay, yet tha comes across Ter say goodbye!

From "The Drained Cup". Although Lawrence's works after his Georgian period are clearly in the modernist tradition, they were often very different from those of many other modernist writers, such as Pound. Pound's poems were often austere, with every word carefully worked on. Lawrence felt all poems had to be personal sentiments, and that a sense of spontaneity was vital. He called one collection of poems Pansies , partly for the simple ephemeral nature of the verse, but also as a pun on the French word panser , to dress or bandage a wound. Even though he lived most of the last ten years of his life abroad, his thoughts were often still on England.

Published in , just eleven days after his death, his last work Nettles was a series of bitter, nettling but often wry attacks on the moral climate of England. O the stale old dogs who pretend to guard the morals of the masses, how smelly they make the great back-yard wetting after everyone that passes.

Two notebooks of Lawrence's unprinted verse were posthumously published as Last Poems and More Pansies. Lawrence's criticism of other authors often provides insight into his own thinking and writing. Lawrence wrote A Collier's Friday Night about , though it was not published till and not performned till ; The Daughter-in-Law in , although it was not staged till , when it was well received. In he wrote The Widowing of Mrs. Holroyd , which he revised in ; it was staged in the USA in and in the UK in , in an amateur production.

It was filmed in ; an adaptation was shown on television BBC 2 in Lawrence had a lifelong interest in painting, which became one of his main forms of expression in his last years. His paintings were exhibited at the Warren Gallery in London's Mayfair in The exhibition was extremely controversial, with many of the 13, people visiting mainly to gawk. The Daily Express claimed, " Fight with an Amazon represents a hideous, bearded man holding a fair-haired woman in his lascivious grip while wolves with dripping jaws look on expectantly, [this] is frankly indecent".

Gwen John , reviewing the exhibition in Everyman , spoke of Lawrence's "stupendous gift of self-expression" and singled out The Finding of Moses , Red Willow Trees and Boccaccio Story as "pictures of real beauty and great vitality". Others singled out Contadini for special praise. After a complaint, the police seized thirteen of the twenty-five paintings including Boccaccio Story and Contadini. Despite declarations of support from many writers, artists and Members of Parliament , Lawrence was able to recover his paintings only by agreeing never to exhibit them in England again.

Knopf in This edition was posthumously re-issued in paperback there both by Signet Books and by Penguin Books in The act introduced by Roy Jenkins had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was to the frequent use of the word "fuck" and its derivatives and the word " cunt ". Various academic critics and experts of diverse kinds, including E.

This resulted in a far greater degree of freedom for publishing explicit material in the UK. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones , asked if it were the kind of book "you would wish your wife or servants to read".

The Penguin second edition, published in , contains a publisher's dedication, which reads: "For having published this book, Penguin Books were prosecuted under the Obscene Publications Act, at the Old Bailey in London from 20 October to 2 November This edition is therefore dedicated to the twelve jurors, three women and nine men, who returned a verdict of 'Not Guilty' and thus made D. Lawrence's last novel available for the first time to the public in the United Kingdom. Despite often writing about political, spiritual and philosophical matters, Lawrence was essentially contrary by nature and hated to be pigeon-holed.

In his letters to Bertrand Russell around the year , Lawrence voiced his opposition to enfranchising the working class and his hostility to the burgeoning labour movements, and disparaged the French Revolution , referring to "Liberty, Equality, and Fraternity" as the "three-fanged serpent". Rather than a republic, Lawrence called for an absolute dictator and equivalent dictatrix to lord over the lower peoples. Lawrence held seemingly contradictory views on feminism.

The evidence of his written works, particularly his earlier novels, indicates a commitment to representing women as strong, independent and complex; he produced major works in which young, self-directing female characters were central. They will break through everything and go on with their own lives.

Despite the inconsistency and at times inscrutability of his philosophical writings Lawrence continues to find an audience, and the ongoing publication of a new scholarly edition of his letters and writings has demonstrated the range of his achievement. The obituaries shortly after Lawrence's death were, with the exception of the one by E. Forster , unsympathetic or hostile. However, there were those who articulated a more favourable recognition of the significance of this author's life and works. For example, his long-time friend Catherine Carswell summed up his life in a letter to the periodical Time and Tide published on 16 March In response to his critics, she wrote:.

In the face of formidable initial disadvantages and lifelong delicacy, poverty that lasted for three quarters of his life and hostility that survives his death, he did nothing that he did not really want to do, and all that he most wanted to do he did. He went all over the world, he owned a ranch, he lived in the most beautiful corners of Europe, and met whom he wanted to meet and told them that they were wrong and he was right.

He painted and made things, and sang, and rode. He wrote something like three dozen books, of which even the worst page dances with life that could be mistaken for no other man's, while the best are admitted, even by those who hate him, to be unsurpassed. Without vices, with most human virtues, the husband of one wife, scrupulously honest, this estimable citizen yet managed to keep free from the shackles of civilization and the cant of literary cliques.

He would have laughed lightly and cursed venomously in passing at the solemn owls—each one secretly chained by the leg—who now conduct his inquest.

To do his work and lead his life in spite of them took some doing, but he did it, and long after they are forgotten, sensitive and innocent people—if any are left—will turn Lawrence's pages and will know from them what sort of a rare man Lawrence was. Aldous Huxley also defended Lawrence in his introduction to a collection of letters published in However, the most influential advocate of Lawrence's literary reputation was Cambridge literary critic F. Leavis , who asserted that the author had made an important contribution to the tradition of English fiction.

Leavis stressed that The Rainbow , Women in Love , and the short stories and tales were major works of art.


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Later, the obscenity trials over the unexpurgated edition of Lady Chatterley's Lover in America in , and in Britain in , and subsequent publication of the full text, ensured Lawrence's popularity and notoriety with a wider public. Since , an annual D. Lawrence Festival has been organised in Eastwood to celebrate Lawrence's life and works; in September , events were held in Cornwall to celebrate the centenary of Lawrence's connection with Zennor. From Wikipedia, the free encyclopedia. This article is about the earlyth-century novelist. For the American actor, see David H.

Lawrence XVII. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Main article: R v Penguin Books Ltd. Lawrence, Volume I, September — May , ed. James T. George J.

Henry IV, part 1: Entire Play

Zytaruk and James T. Warren Roberts, James T. Lawrence, Volume V, March — March , ed. Boulton and Margaret Boulton with Gerald M.

Lil Nas X - Old Town Road (I Got The Horses In The Back) [Lyric Video]

Keith Sagar and James T. Vivian de Sola Pinto and F. Lawrence: Selected Poems , ed. Keith Sagar. Lawrence Introductions and Reviews , edited by N. Edited by James T. Twilight in Italy paperback reissue, I. Paintings [ edit ] The Paintings of D. Lawrence , London: Mandrake Press, Lawrence's Paintings , ed.

Keith Sagar, London: Chaucer Press, The Collected Art Works of D. Lawrence , ed. Tetsuji Kohno, Tokyo: Sogensha, England portal Literature portal Biography portal. Murry, 2 February