Word: angel
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Dates: during 1970-1979
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...ambitious debut. Gordon goes beyond any formulas about sheltered young women entering the churning world and learning through suffering. Isabel is a sympathetic but varied character. What she says of her father applies to her as well: "His mind had the brutality of a child's or an angel...
...short, Alan Freed was not the angel with a damaged wing that American Hot Wax shows us. The payola affair is mentioned briefly in one scene, but Freed's relationship to it is fudged. The movie ends with an ominous subtitle epilogue which informs us that Freed was indicted and died "penniless" shortly thereafter. This is a truth which is distorted by its context. The real Freed was indeed a Messiah of rock and roll, but not for its own sake alone. He had lots to gain. The treatment of Freed points up the main feature of this movie...
...hard to imagine Fassbinder, contrast, very far from the pavements of a modern city, whether it be Munich, Berlin or New York, his favorite place. Though he dresses in dirty jeans and a leather jacket, and looks like a Hell's Angel, Fassbinder is rigidly disciplined. Since he finished his first film in 1969, he has turned out, on average, one full-length movie every three months. "I want to build a house with my films," he says. "Some of them are the cellar, some are the walls, and some are the windows. But I hope...
...rivals a combination of Hollywood '30s movies and slapstick. Perhaps the funniest sequence traces the relationship between two women who discover that they are married to the same man, a trucker who conveniently spends most of his time away from his two homes. After sustaining the initial shock, Dallas Angel (Ann Wedgeworth) and Portland Angel (Marcia Rodd) compare their "mutual" husband's bedside manner over drinks--many, many drinks. Wedgeworth's naive and honest persona and Rodd's cool, assertive character play off each other perfectly; both actresses are accomplished in their timing and facial expression. Not since Zero Mostel...
...harbinger of a serious message. Summarizing Demme's position, Papa Thermodyne, a senile, retired trucker says: "This country promises everything. What does it give? Nothing." As he supports Papa Thermodyne with his camera, Demme continually focuses on emblems such as the American flag and the crucifix that Dallas Angel sports. It is clear that Demme continually focuses on emblems such as the American flag and the crucifix that Dallas Angel sports. It is clear that Demme denounces a society where the CB unavoidably becomes the vehicle of perversity, yet these issues cannot be compatibly explored within the rest...