Some have criticized the film, however, for sentimentalizing one of the darkest events in history.
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Perhaps that's judgmental, but I take pains to avoid sentimentalizing struggles that are not my own.
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This is something that the many animated Jungle Books of old, especially Disney's classic 1967 version, actually register better, for all their cuteness and sentimentalizing.
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She's a writer with the exceedingly rare ability to observe sympathetically both particular events and the horizon against which they take place without sentimentalizing her subjects.
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For me, it's really exciting to look at telling a story of two characters that on some level were able to transcend that fear, without sentimentalizing it.
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He has written variously about adultery and rape, failed fathers and violently derailed romances, murder and hauntings, dead or dying dogs and talking cats, with and without humor, always without sentimentalizing.
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Fullee Love may be the manifestation of Zaakir Mohammad's second chance, but as he finishes his Cuban food, he's more interested in moving forward than sentimentalizing the road that brought him here.
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The burden women bear in procreating and in raising a child is very real, and should — even if it does not always — preserve the movement from simply sentimentalizing the embryo or its life.
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The curators of the show, friends and fellow artists Andrea Blum, Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka, resist sentimentalizing the material, a tempting trap into which memorial exhibitions often fall.
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They wrote about her sculptor's garb (a jaunty red fez); they noted her stature (short), her speech (deliberate), her manners (childlike) and her demeanor (stoic), sentimentalizing her race and gender in the custom of the time.
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Roth's great subject turns out to be, by his own account, patriotism—how to savor American history without sentimentalizing it, and how to claim an American identity without ceasing to inquire into how strangely identities are made.
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Like that film, which makes a male weepie out of the decline of an aging wrestler, sentimentalizing his bad parenting and failed marriage, JCVD allowed Van Damme to stage a comeback by reclaiming (and rewriting) his own past.
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Rather than acting as a refugee, Azzam negates Weiwei's sensationalism and amazing moral blindness, resisting any attempt at sentimentalizing the plight faced by asylum seekers as they make the often perilous journey in search of safety and solitude.
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And I've been accused of sentimentalizing hard-core material. But in fact it was Stanley who did the sweetest parts of A.I., not me. I'm the guy who did the dark center of the movie, with the Flesh Fair and everything else. That's why he wanted me to make the movie in the first place.
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Biographer Melissa Müller later wrote that the dramatization had "contributed greatly to the romanticizing, sentimentalizing and universalizing of Anne's story." Over the years the popularity of the diary grew, and in many schools, particularly in the United States, it was included as part of the curriculum, introducing Anne Frank to new generations of readers.
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And all the parts of A.I. that people accuse me of sweetening and softening and sentimentalizing were all Stanley's. The teddy bear was Stanley's. The whole last 20 minutes of the movie was completely Stanley's. The whole first 35, 40 minutes of the film—all the stuff in the house—was word for word, from Stanley's screenplay.
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However, they are incompetent and mistakenly kidnap Fortnum instead. They take him to a squalid hut in a shanty town while bargaining with the authorities. Plarr goes to the hut, where Fortnum, who has been shot in the leg while attempting to escape, lies drinking whisky. Fortnum spends much of his time, as he faces up to his impending death, sentimentalizing about Clara and remembering the fearsome figure of his father.
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The Conscious Lovers is a very loose adaptation of Terence's Andria, or The Woman of Andros, itself a translation of an older Greek play.2\. Horejsi, Nicole. "(Re)Valuing the 'Foreign Trinket': Sentimentalizing the Language of Economics in Steele's Conscious Lovers." Restoration and 18th Century Theatre Research 18.2 (2003): 11-36[2] Many other 18th-century playwrights created adaptations of ancient Roman plays, particularly favoring the works of Plautus and Terence.
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He described Slessor as: > ...a city lover, fastidious and excessively courteous, in those qualities > resembles Baudelaire, as he does in being incapable of sentimentalizing over > vegetation, in finding in nature something cruel, something bordering on > effrontery. He prefers chiselled stone to the disorganization of grass. Ronald McCuaig was the first to produce an in-depth review of Kenneth Slessor (in The Bulletin in August 1939 and republished in "Tales out of bed" (1944)). The review was favourable, ranking Slessor above C.J. Brennan and W.B. Yeats.
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'" The photographs of Friedlander and Winogrand were closer to each other than the work of Arbus was to either of them. Szarkowski explained that what "unites these three photographers is not style or sensibility; each has a distinct and personal sense of the use of photography and the meanings of the world. What is held in common is the belief that the world is worth looking at, and the courage to look at it without theorizing." This was "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye.
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Vincent Canby, of The New York Times, called it "pure '30s make believe" and dismissed both Stallone's acting and Avildsen's directing, calling the latter "none too decisive". Andrew Sarris found the Capra comparisons disingenuous: "Capra's movies projected more despair deep down than a movie like Rocky could envisage, and most previous ring movies have been much more cynical about the fight scene," and, commenting on Rocky's work as a loan shark, says that the film "teeters on the edge of sentimentalizing gangsters." Sarris also found Meredith "oddly cast in the kind of part the late James Gleason used to pick his teeth."The Village Voice November 22, 1976, p.
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Steven H Silver gave a positive review of the novel and commented that Turtledove left a lot of room open for further stories in the series, but still feels that Turtledove's writing style has changed to the point where future stories would appear out of place. Science fiction author Orson Scott Card also gave a good review for the novel complimenting Turtledove especially on Freedom for the use of a sim's point of view without "sentimentalizing and anthropomorphizing until the true differences between species are erased." One criticism of the novel was made by a reviewer who thought that there was an assumption that the course of history would have gone pretty much as it did with Native Americans here, and felt that this underestimates the impact of Native Americans on our history.
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Wyler was reluctant to cast Jones, but Jones's husband David O. Selznick pushed hard for her to be given the role. The filming was plagued by a variety of troubles: Jones had not revealed that she was pregnant; Wyler was mourning the death of his year-old son; Olivier had a painful leg ailment that made him cranky, and he developed a dislike for Jones; and Hollywood was reeling under the effects of McCarthyism, and the studio was afraid to distribute a film that could be attacked as immoral. Ultimately, the ending was changed to eliminate Hurstwood's suicide and the film was cut to make it more positive in tone. Some critics accused the film of sentimentalizing the novel, box office was weak, and reviews were generally disappointing, although they praised Olivier, who received a BAFTA nomination.
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Her paintings from this period are loosely associated with the Boston Expressionist school, although her themes tended to be gentler than those of Jack Levine and others working in that style. In a 1957 review of her show at the Boris Mirski Gallery, critic Edgar Driscoll marveled at her ability to render tranquil domestic scenes, featuring sleeping children or nursing infants, in a creative way: "It is a tender, touching showing...Yet the artist, through strong color and off-beat compositions, carefully avoids over-sentimentalizing or slipping into the banal." One of her best known paintings from this period, "Baby", shows her infant son Aaron held up by a man's hand, presumably her husband's. At various times in the 1940s through the 1960s, Swan taught art classes at Boston University, Wellesley College, and the museum school.
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Blum (2006), 120 Columbus's importance for the novella is signalled repeatedly, most dramatically by the "follow your leader"-sign under the figurehead: as revealed in the legal documents, Columbus's was the original figurehead who had been replaced by the skeleton.Blum (2006), 121 Robertson-Lorent finds that "Melville indicts slavery without sentimentalizing either the blacks or the whites." Any apparently kind behavior toward the slaves is deceptive by nature: not only does such conduct not change the fact that the captain considers the slaves his property, but it also rests on the motif that it is a "purely self- serving" financial interest of the captain to treat his peculiar "cargo" well. The Americans display no better moral when they board the ship at the end of the story: it is not kindness that restrains them from killing the Africans, but their plan to claim the "cargo" for themselves.
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