Word: angels
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Dates: during 1970-1979
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...House Without A Christmas Tree. Sentimental story of a small-town Nebraska Christmas in 1946 kicks off the Christmas Special season. Emmy-winner Paul Bogart ("Look Homeward, Angel") directs Jason Robards, Lisa Lucas, and Mildred Netwick, CH. 7. Color...
...American foreign policy had become rigidly set as a military response to what was seen as a world-wide Communist challenge. Kennan's influence in the councils of the powerful waned with the departure of his bureaucratic angel, General Marshall. Dissatisfaction with prevailing powers compelled Kennan to retreat to Princeton's Institute for Advanced Studies. While Dean Acheson put the finishing touches on his creation, solidifying NATO and arranging the rearmament of divided Germany, Kennan lectured, wrote, and informally negotiated with the Russians over the Korean conflict. He was unhappy with foreign policy, and destined to remain that...
...years later, this new film, his 29th, uses a device reminiscent of The Exterminating Angel. A small group of frivolous, well-heeled Parisians (Fernando Rey, Delphine Seyrig, Stephane Audran, Jean-Pierre Cassel, Bulle Ogier, Paul Frankeur) sit down to a series of meals that are in some way either interrupted or totally disrupted. The movie is a skein of the guests' separate fantasies, each one originating with the recurring comic nightmare of a disastrous dinner. Bunuel, as if working an artful parlor trick, sometimes pulls one dream from inside another like a series of splendid silks...
...Discreet Charm of the Bourgeoisie lacks the intense irony of The Exterminating Angel and Viridiana. The tone is farcical, the humor sharp but somehow never wounding. Bunuel could not ever be benign, but here he seems almost lighthearted. The Discreet Charm of the Bourgeoisie is his most blithe and accessible work. We enjoy it, but at the same time we miss Bunuel's bite...
...secretarial work. Although the real Jacson never admitted to any motive for the murder, he is widely believed to have been a Stalinist agent. In the film, however, Losey makes a sonorous attempt to turn the murder into an oblique existential tract and the assassin into a schizoid avenging angel. Like characters in such previous and more estimable Losey films as The Servant and Accident, Jacson is a scarred and desperate man, searching a psychic void for some small sign of life. When he whispers to his police captor, hoarsely but triumphantly, "I killed Trotsky," it becomes not so much...