Word: confronts
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Dates: during 1970-1979
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...humble hopes for this poorhouse thriller evaporate in the opening sequence. Two mob gunmen arrive at a back-country farm to make a hit. Their quarry is doing some chores. Without a word, they confront him, pull their weapons, shoot him twice in the heart, and go away. Around his still body his pet dog capers and moans. Over in the corral a horse paces desperately. And the screen door on the porch bangs open and closed in the wind. Cliches are not the exclusive province of dialogue...
Fest weaves a judicious path through the mountain of raw materials that confront any biographer of Hitler. The book is crammed with pertinent quotes and facts. The author has a nice eye for the single sentence that ties together a skein of reasoning. Discussing how Hitler stirred the masses while retaining a certain messianic remoteness, Fest cites the dictator's response to a solicitous woman: "Yes, I am very lonely, but children and music comfort...
...very tantalizing--or is it? Such a ridiculous attempt to flee, rather than confront, the unequivocal fact of death is merely one more manifestation, claims David Hendin, of this single remaining taboo; a taboo being bombarded, however, by an army of books, articles, monographs and courses on the subject. Hendin calls his contribution "A realistic look at the medical and emotional aspects of death." It is an unpretentious, informative and honestly sensitive confrontation with some eyebrow-raising facts...
...moment when Pirsig thinks that he is again losing his grip and that Phaedrus may regain control. He decides to send the boy home by bus and check into a hospital. The boy refuses to go and begins to weep uncontrollably. Then, for the first time, father and son confront the painful truth about Phaedrus. The past and present come together, and Pirsig and Chris, who up to this point have seemed like subject and object, are united by what might be appropriately described as the underlying quality of familial love...
...Waterston makes a gentle, intelligent Nick, but the role is largely passive. The movie's sharpest characterization is Bruce Bern's Tom Buchanan, a figure of imperiousness, steeped in contempt that comes from too much ease, too much money. When he and Gatsby confront Daisy in a hotel room one afternoon, the film catches the intensity that Fitzgerald conveyed in the sculpted contours of his prose...