Not exact matches
The difference is that he never forgot that politics is one way in which
very imperfect
human beings can enact projects based on moral reasoning; that politics is a theater of both
comedy and tragedy, relentless in the teaching of humility.
As many a TV situation
comedy has demonstrated,
human finitude can be
very funny, and Auden heightens the humor by suggesting that the humdrum is caught up in salvation history.
If we engage in the «de-mythologizing» of the Revelation to St. John the Divine, as we must also «de-mythologize» the creation stories in the book Genesis in the Old Testament, we realize that what is being said is that as
human existence and the world in which that existence is set has its origin in the circumambient, everlasting, faithful Love that is nothing other than God — we recall Wesley's hymn, quoted a few paragraphs back, that «his nature and his Name is Love», and Dante's great closing line in The Divine
Comedy about «the Love that moves the sun and the other stars» — so also the «end» toward which all creaturely existence moves is that
very same Love.
And the marvel is that she never loses her innate femininity, even when performing some
very outlandish physical
comedy — like turning her Lily Garland character into a
human barbell so lover boy Bruce Granit (Andy Karl being absurdly macho) can do his bicep curls as the 20th Century carries the two of them from Chicago to New York City in 16 hours.
Up until this point, John Cusack had spent almost his entire cinematic career in teen
comedies, from Class to The Sure Thing via cult classic Better Off Dead to the misfired Hot Pursuit, Cusack's unique and
very human screen persona stole every show he was in - but by 1988, he'd become determined to move on into more serious and adult cinema.
This film debut by the theater writer and director Martin McDonagh is an endlessly surprising,
very dark,
human comedy, with a plot that can not be foreseen but only relished.
An endlessly surprising,
very dark,
human comedy, with a plot that can not be foreseen but only relished.
Simonson's
comedy of manners charms with its lovable and
very human characters, as well as its wry wit and wisdom.
The episodes are
very reminiscent of the silent films of the early twentieth century, as there is no spoken dialogue whatsoever (there are sheep bleets,
human grumbles and other sound effects, of course) and the
comedy is often physical in nature.
Be it drama or
comedy alike, exploring existential philosophical or simply
very personal ideas and thoughts on the
human condition and working from deep down my own emotional pipeline.»