Euripides, an ancient Greek playwright, was called a misogynes, or woman-hater.
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You could say he went from being one almighty woman hater to a full-on feminist.
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The clubhouse looked like the hunting lodge that the woman-hater in the OG Disney Snow White hung out.
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Here we have Freud the liar, cheat, incestuous child molester, woman hater, money-worshiper, chronic plagiarizer and all-around nasty nut job.
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In one, an anonymously written feminist play called "Swetnam the Woman-Hater, Arraigned By Women," the character standing in for Swetnam was named Misogynos.
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The way Paris Hilton briefly considered herself an actress-model-singer-designer-dog owner-DJ, Trump is a president-sexual assault defender-liar-woman hater.
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The Italian filmmaker isn't your feminist answer to Fellini (her predecessor and mentor)—in fact, she was even called a "woman hater" by many a female critic for her contentious representation of women.
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"He appears to exhibit the mind-set of a criminal, a woman hater, a person who thrills and derives dark pleasure from attacking treasured norms and values of families and societies," she said.
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RICHARD M. FRAUENGLASS Huntington, N.Y. To the Editor: I am insulted by the knee-jerk reaction of liberals that anyone who voted for Donald Trump is a racist, a homophobe and a woman hater.
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He takes up this issue most in depth with Edgar Degas and Édouard Vuillard — the former's absent sexual life and the recent discovery that the latter had one have led some to believe Degas was a woman hater, while others have revisited Vuillard's paintings with new romantic narratives.
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The play is a kind of reversal of The Taming of the Shrew, where the man-hater Kate is replaced with a woman-hater Cavaliere.
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Swetnam the Woman-Hater Arraigned by Women is a Jacobean era stage play, an anonymous comedy that was part of an anti-feminist controversy of the 1615–20 period.
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A man receives a letter from a girl stating that she does not want a relationship with him anymore. After this, he becomes the "woman hater" referenced in the title.
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The single reel drama, approximately 1000 feet in length, was released on June 14, 1910. Theater advertisements for the film were found in newspapers in Indiana, Pennsylvania, Maryland, and Ohio. The film was alternatively known and advertised as Taming a Woman Hater. One theater in Pennsylvania would advertise Thanhouser's Jane Eyre as a magnificent and costly production and follow it up with The Woman Hater with the generic advertisement promotion that it was a great film.
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The pseudonyms are thought to represent other female authors, making this polemical response to Swetnam a rare cluster of early 17th-century works written by women. The play Swetnam the Woman-Hater shows internal signs of being the final response to Swetnam in the relevant period.Logan and Smith, p. 211. More generally, Swetnam the Woman-Hater is one of a long-running series of English Renaissance plays on what can be called, very broadly, the gender question.
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The Woman Hater is a 1910 American silent short drama produced by the Thanhouser Company. The film focuses on Tom Taylor, a woman-hater, who sells his property to a financier at a play. In order to finalize the transaction, Taylor must go to the financier's hotel and becomes the subject of a bet by Lou Bennett that she can win his affections. Lou succeeds in the bet, but Taylor finds out and is preparing to leave forever when Lou speaks to him.
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In subject matter and source material, Fletcher's play parallels the anonymous drama Swetnam the Woman-Hater, which was first printed in 1620. It is unclear which play had priority over the other.Logan and Smith, pp. 210–12.
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It is unknown if published trade reviews for this work exist, but there is an absence of a citation Bowers. Given this absence, it is possible that additional details or commentary can be obtained from advertisements or local newspapers outside of typical trade publications. The film was labeled a comedy in an advertisement, using the name Taming a Woman Hater in The New York Dramatic Mirror on June 18, 1910. Identification of the film in showings and reviews is complicated by the existence of Pat Power's The Woman Hater.
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The Woman Hater, or, The Hungry Courtier is an early Jacobean era stage play, a comedy by Francis Beaumont and John Fletcher. One of the earliest of their collaborations, it was the first of their plays to appear in print, in 1607.
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Logan and Smith, pp. 210–11. The tone of de Flores' novel is strongly chivalric, a trait that carries over into the play. "Swetnam the Woman-Hater is remarkable for the unusually high moral tone it adopts with regard to women."Gosse, p. 134.
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In the period 1797–1801 Burney wrote three comedies that remained unpublished in her lifetime: Love and Fashion, A Busy Day and The Woman Hater. The last is partly a reworking of subject-matter from The Witlings, but with the satirical elements toned down and more emphasis on reforming her characters' faults. First performed in December 2007 at the Orange Tree Theatre in Richmond, it retains one of the central characters, Lady Smatter – an absent-minded but inveterate quoter of poetry, perhaps meant as a comic rendering of a Bluestocking. All the other characters in The Woman Hater differ from those in The Witlings.
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504 Our Irish Visitor;Author unknown, performed by the vaudeville team, Murray and Murphy in the mid-1880s, Brown, Thomas Allston', A History of the New York Stage; 1903; pg. 226 David Loyd's The Woman- Hater;Lloyd, David Demarest – The Woman-Hater accessed June 28, 2012 Gus Heege productions of A Lumber Camp in Winter and Yon Yonson; the comic opera Prince Pro Tem by Robert A. Barnet and Lewis S. Thompson, first performed at the Boston Museum on September 17, 1894;Barnett, Robert A., Thompson, Lewis S. Prince Pro Tem accessed June 28, 2012No title-The Sandusky Register 9 May 1894; pg. 6 col. 5; Ancestry.
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E. K. Chambers, The Elizabethan Stage, 4 Volumes, Oxford, Clarendon Press, 1923; Vol. 3, pp. 219-20. Like other previously-published plays, The Woman Hater was omitted from the first Beaumont and Fletcher folio of 1647. The play was later included in the second Beaumont/Fletcher folio in 1679.
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In January 1948 it was announced Australian writer Alec Coppel had sold a story to Stewart Granger called Woman Hater. French actor Edwige Feullere would co star. The casting of French actor was announced shortly afterwards. Granger was one of the biggest stars in British cinema at the time, best known for appearing in melodramas.
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One of them, Lou Bennett (played by Violet Heming), asks John to introduce Tom. This John declines to do on the grounds that Tom is a woman hater. Lou bets the other girls that she can make Tom fall in love with her and propose to her within a week. They take the bet, not knowing Tom's name or where he lives.
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She graduated Bachelor of Arts (BA), later promoted to Master of Arts (MA Oxon) as per tradition. She later continued her studies as a postgraduate. Her supervisor was K. B. McFarlane, described by The Independent as "the pre-eminent authority on 15th century England, but notorious as a woman-hater". She completed a Doctor of Philosophy (DPhil) degree in 1962.
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Menander, The Plays and Fragments, translated by Maurice Balme, contributor Peter Brown, Oxford University Press, 2002. A Greek play with a similar name, Misogunos (Μισόγυνος) or Woman-hater, is reported by Marcus Tullius Cicero (in Latin) and attributed to the poet Marcus Atilius.He is supported (or followed) by Theognostus the Grammarian's 9th century Canones, edited by John Antony Cramer, Anecdota Graeca e codd. manuscriptis bibliothecarum Oxoniensium, vol.
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Julia Gillard According to the Oxford English Dictionary the word entered English because of an anonymous proto-feminist play, Swetnam the Woman-Hater, published in 1620 in England. The play is a criticism of anti- woman writer Joseph Swetnam, who it represents with the pseudonym Misogynos. The character of Misogynos is the origin of the term misogynist in English. The term was fairly rare until the mid-1970s.
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Young's first sole credit as director (and also Christopher Lee's film debut) was Corridor of Mirrors (1948), an acclaimed film made in France. He followed it with a musical One Night with You (1948); Woman Hater (1948), a comedy with Stewart Granger; They Were Not Divided (1950), based on his own life in the Irish Guards. Young also directed Valley of Eagles (1951) and The Tall Headlines (1952).
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Woman Hater is a 1948 British romantic comedy film directed by Terence Young and starring Stewart Granger, Edwige Feuillère and Ronald Squire. The screenplay concerns Lord Datchett, who invites a French film star to stay at his house but pretends to be one of his employees while he tries to romance her with the help of his butler. When she discovers his subterfuge she decides to turn the tables on him.
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Though Shiva, a woman hater with no interest in marriage, Shiva says he will marry his employee, Nithya. Shakthi learns that Subadhra has ill intentions and she threatens to have Meenakshi killed if Shakthi doesn't stop the marriage. Shakthi is suspicious when Nithya disappears, but it turns out that Shiva was never serious about the wedding and paid Nithya to pretend. Shiva's relatives suggest him to marry Shakthi.
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This tract deployed both invective and learning. Another reply to Swetnam was the comic play, Swetnam the Woman-Hater Arraigned by Women (1620), anonymously written. In it, Swetnam, under the name "Misogynos", is made uncomfortable at the hands of the women he despises. The play reflects the popularity of Swetnam's tract with the "common people": it was performed at London's Red Bull Theatre, which had a populist reputation.
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It ran until the 1850s, introducing entertainments similar to Evans Music-and-Supper Rooms, in nearby Covent Garden.The clubs are marked by historic plaques on the modern Coal Hole public house. Edward Terry, as owner-manager, opened the theatre on 17 October 1887, with the farce The Churchwarden, followed by The Woman Hater. Terry had been the leading comedian of the Royal Strand Theatre and then starred in John Hollingshead's company at the Gaiety before entering theatre management.
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Upon his arrest, Askins declared to police that he was a "woman hater" and was placed under mental observation at Washington, D.C.'s Gallinger Hospital. While there, he broke free of his restraints and assaulted three orderlies with a chair before being subdued. During his trial, it was revealed that he'd been a police informant, aiding law enforcement in the arrests of prostitutes. In April 1939, Askins was found criminally insane and committed to St. Elizabeths Hospital.
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Sapthathi's parents agree but Harshan's mom Sharmila insists that Abhimanyu marry first as the eldest son. Though he is a woman hater with no interest in marriage, Abhi says he will marry his employee, Nithya. Samyukta learns that Sharmila has ill intentions and Sharmila threatens to have Sapthathi killed if Samyukta doesn't stop the marriage. Samyukta is suspicious when Nithya disappears, but it turns out that Abhi was never serious about the marriage and paid Nithya to pretend.
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Granger wanted a change of pace and so appeared in Woman Hater (1948), a comedy with Edwige Feuillère. In 1949, Granger was reported as earning around £30,000 a year. That year Granger made Adam and Evelyne, starring with Jean Simmons. The story, about a much older man and a teenager whom he gradually realises is no longer a child but a young woman with mature emotions and sexuality, had obvious parallels to Granger's and Simmons' own lives.
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Commentators who object to the ethical and moral tone of works in the Beaumont/Fletcher canon have found The Captain to be a prime offender. Critic Robert Ornstein castigated the incest scene in The Captain for its "disgusting prurience."Ornstein quoted in Logan and Smith, p. 36. The Captain tells a story with clear general resemblances to the earlier The Woman Hater; the earlier play might be considered Beaumont's version, and the later one Fletcher's, of the same dramatic concept.
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The play tells the story of Celia and Beaufort, lovers kept apart by their families due to "economic insufficiency". Burney's plays came to light again in 1945 when her papers were acquired by the Berg Collection of the New York Public Library.Orange Tree Theatre, Richmond, Surrey: programme notes by the director Sam Walters for his world première production of The Woman Hater 19 December 2007. A complete edition was published in Montreal in 1995, edited by Peter Sabor, Geoffrey Sill, and Stewart Cooke.
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Swetnam the Woman-Hater was first published in 1620, in a quarto issued by Richard Meighen. The title page of the quarto states that the play was performed by Queen Anne's Men at the Red Bull Theatre; the most likely date for the first performance is considered to have been in late 1618 or 1619. The play was not reprinted in its own era (in fact, not until 1880); but it was revived onstage around 1633.Logan and Smith, pp. 211–12.
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In Charles Reade's novel, A Woman- Hater (1877), Rhoda Gould tells the story of the Edinburgh Seven in some detail, as if she had been one of them: "We were seven ladies, who wished to be doctresses, especially devoted to our own sex . . .". While the 'woman- hating' character of Vizard has to be persuaded of Rhoda's potential to do good, Reade's own attitude is sympathetic: " . . . it matters greatly to mankind whether the whole race of women are to be allowed to study medicine and practice it".
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At eighteen he published a work in defense of women, entitled Ẓilẓal Kenafayim (The Rustling of Wings) or Oheb Nashim (The Women-Lover). In the short introduction to this treatise, Bedersi says that he wrote it against Judah ibn Shabbethai's Sone ha-Nashim (The Woman-Hater). The young poet dedicated this composition to his two friends, Meïr and Judah, sons of Don Solomon Dels-Enfanz of Arles. It was written in rhymed prose, and has been edited by Neubauer in the Zunz Jubelschrift, 1884.
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H. C. Oliphant, The Plays of Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others, New Haven, Yale University Press, 1927; p. 216. but most favor a date of 1606. A second quarto was issued in 1648 by Humphrey Moseley, with an attribution to Fletcher. The second imprint of this second quarto, issued in 1649, assigned the play to both Beaumont and Fletcher and added a subtitle to the play, calling it The Woman Hater, or The Hungry Courtier.
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As described in a film magazine, Helen Armes (Dalton), a nurse, comes to New York City from Albany to visit her married brother. She arrives on New Year's Eve and is immediately added to a cabaret party being made up to include her brother's wife and Lyle Bane (McCullough), a wealthy bachelor. At the cabaret she meets his brother Temple Bane (Herbert), a woman-hater who begins to believe in her. When she wearies of the performance, Lyle takes her home, lures her into his apartment, and attempts familiarities.
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Dileep is a successful industrialist who runs a company named Minerva Exports & Imports. Despite his humble exterior, he has a dark side; he preys on nubile girls, has sex with them, and kills them. These proceedings are video-recorded and watched by his adoptive father and mentor, another deranged woman-hater who, as with Dileep, had a disillusioning experience with women in his past. The old man stays holed up in a far corner of Dileep's mansion watching his adopted son carry out what he is too infirm to do.
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Earlier plays in this subgenre would include Shakespeare's The Taming of the Shrew and Beaumont and Fletcher's The Woman Hater and The Woman's Prize. Beyond the confines of the drama, there was an abundant literature on the subject. Swetnam's tract was only one in a long series of similar attacks on women; countervailing defences of women were less common though not unknown—as in Protection for Women (1589), by "Jane Anger," and The Worth of Women: Wherein is Clearly Revealed Their Nobility and Their Superiority to Men (1600), by "Moderata Fonte" (both pseudonyms).
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Coppel moved back to London towards the end of the war, and continued to alternate between novels, plays and screenplays. His plays included My Friend Lester (1947) and A Man About a Dog (1949). His scripts included Brass Monkey (1948), Woman Hater (1948), Obsession (1949) (based on A Man About a Dog), Two on the Tiles (1951), and Smart Alec (1951) (based on Mr Smart Guy). Coppel was hired to rewrite some scenes on No Highway in the Sky (1951) starring James Stewart and wrote Mr. Denning Drives North (1951) based on his own novel.
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The consensus of scholarship agrees on the authorship of the play. Unlike some other Beaumont and Fletcher plays such as A King and No King, The Maid's Tragedy, and The Woman Hater, in which Beaumont is the dominant partner, The Captain shows Fletcher's hand predominating. Cyrus Hoy, in his survey of authorship problems in the canon of Fletcher and his collaborators, produced this breakdown between the two playwrights' respective shares:Terence P. Logan and Denzell S. Smith, eds., The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama, Lincoln, NE, University of Nebraska Press, 1978; p. 61.
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One important subject was himself. Van Leo invested in his own self-portraits which he called "auto-portraits" and has created for himself a collection of 400 auto- portraits in various costumes and characters including Jesus, a beggar, a WWII pilot, a cowboy, a robber, a woman hater, several varieties of women, a gunman, a Saudi Sheikh, and many others. Besides portraits, Leon also invested in photographing antiquities like the Pyramids of Giza, famous mosques in Cairo, ruins in Luxor, and touristic sites in Paris, Rome, and Vienna. Van Leo was also known for his attention to details.
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In 1910, Powers left Buffalo for New York City, where he founded the Powers Moving Picture Company, also frequently billed in advertisements and credited in his films as "Powers Picture Plays". Early examples of his studio's releases include The Woman Hater (1910) with Violet Heming, Pearl White, and Stuart Holmes; the comedy Lost in a Hotel (1911); the children's fantasy film An Old-Time Nightmare (1911); and the Western Red Star's Honor (1911). In 1912, Powers' company merged with Carl Laemmle's Independent Moving Pictures Company (IMP) film company and others to create what eventually would become Universal Pictures. He served as treasurer of the Universal Film Manufacturing Company.
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About the film, Bharathiraja said: "This movie was meant to be a black & white art film produced with the help of National Film Development Corporation", but turned out to be a commercially successful colour film and a starting point for several important careers. His next film Kizhake Pogum Rail produced similar results and eventually brought in criticisms that Bharathiraja was capable of catering only to village audiences. This led him to make Sigappu Rojakkal, about a psychopathic woman-hater that was totally westernized in terms of both conception and production. Bharathiraja confirmed his versatility and refusal to be tied down to one particular genre with an experimental film Nizhalgal (1980), and the action thriller Tik Tik Tik (1981).
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Phipps wrote two films for Stewart Granger, Woman Hater (1948) and Adam and Evelyne (1949) then did a Wilcox movie without Neagle, Into the Blue (1950). He wrote a script for David Lean, Madeleine (1950) and did one for Ralph Thomas, Appointment with Venus (1951) He was one of several writers on I Believe in You (1952), and did a thriller for George Raft Escape Route (1952). He did an Alec Guinness comedy, The Captain's Paradise (1953), then had one of the biggest hits of his career with Doctor in the House (1954) for Thomas. He did the sequels Doctor at Sea (1955) and Doctor at Large (1957), plus a similar comedy, True as a Turtle (1957).
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Though the general flings insults at her, Oriana responds with nothing but pleasantries; that is, up until the point that she informs Gondarino that she sought out his house specifically because of his reputation as a woman hater, hoping to amuse herself by aggravating him. Suddenly, the Duke and his two courtiers, having also been caught in the streets by the hailstorm, appear at Gondarino's door. While Gondarino rails against the presence of a woman in his house, the Duke begins to suspect his protests are a ruse designed to conceal an illicit love affair with his beloved Oriana. As he shares his suspicions with Lucio, Valore and Lazarillo appear, the latter still on the hunt for the umbrannes head.
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The author of Newmarket, or an Essay on the Turf, London, 1771Attributed by Cole to Mr. Anstey of Trumpington. described him: > He was a known woman hater, passionately fond of horse-racing, cocking, and > coursing; remarkable for a peculiar uniformity in his dress, the fashion of > which he never changed, and in which, regardless of its uncouth appearance, > he would not unfrequently go to court and enquire in the most familiar > manner for his master or mistress, the king or queen. Queen Anne used to > call him Governor Frampton. Another writer quoted by Whyte in an account of Newmarket in the reign of Queen Anne, remarked: > There was Mr. Frampton, the oldest, and, as they say, the cunningest jockey > in England; one day he lost 1,000 guineas, the next he won 2,000, and so > alternately.
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He also said there might have been two women, as other testimonies claimed, but he only saw one: "They say there were two, but I took notice of but one, as I hope God will save me: there might have been two, though I only saw one: that is a fact". Therefore, he stroke her hand and the woman insulted him for being a foreigner, he said "she called me several bad names [...] among which French bugger, d-ed Frenchman, and a woman-hater, were the most audible". By then he was going away when a man struck him with a fist, asking him how he dared strike a woman. He was beat by them and other people who surrounded him, but found a way to escape, even if they then caught him.
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" Critic Sam Adams wrote about Fritz Lang directorial style, "Restraint was never Fritz Lang's problem. Indeed, his version of Clifford Odets' Clash by Night is overwrought verging on camp... In Clash's wild kingdom, strong women can only be sated by the threat of male violence: After she marries sturdy lug Paul Douglas, Stanwyck is unerringly drawn towards Ryan's volatile woman-hater, while fish-canner Marilyn Monroe shows her affection to fiance Keith Andes by socking him in the arm, a gesture he threatens to return in spades. Lang tilled the same turf two years later in Human Desire, a similarly heavy-handed expose of man's bestial nature. Perhaps Lang should have stuck with the style of Clash's extraordinary, near-wordless opening, which begins with shots of seagulls and seals and slowly mixes in the actors in their natural habitats.
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