Word: controled
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Dates: during 1970-1979
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Eventually they end up at a diner, where Teddy slowly takes control of all the people and subjects each of them to similar humiliations. Comparison with The Petrified Forest is inevitable. As in that movie, most of the action takes place in one room, in which a group of diverse types is held hostage by one violent man. Both are set in roadside cafes in the Southwest. But many of the elements which made The Petrified Forest a great film are missing in Red Ryder. The most important of these is restraint. Bogey was actually at his hammiest in Petrified...
Despite unconfirmed reports that Iran was being flooded with weapons, including some purportedly provided by the Palestine Liberation Organization, pro-Khomeini demonstrations have been remarkably peaceful and well disciplined. Only on occasion have crowds gotten out of control of the street marshals provided by Khomeini's amoeba-like organization. In one particularly grim example last week, a mob at the University of Tehran grabbed General Tagi Latifi, a police officer, from his car, screaming, "Kill him!" He was beaten senseless before being rescued by a group of clergymen...
When Homayoun and other diplomats showed up for work next morning, General Rafii and his mini-army brandished their weapons and declared they were under orders from Zahedi to maintain control of the embassy until his return. After vainly arguing with the attaches that he held the reins of authority in Zahedi's absence, Homayoun hurried over to the State Department. The department's Iran desk officer, Henry R. Precht, was sympathetic but unable to help. Reason: Washington was baffled by the imbroglio and did not want to meddle in a family quarrel...
...manages to make his success seem ultimately stultifying without ever inviting pity. Just as important, he is not treated either as a cultural icon or as some sort of bloated, junked-up superstar, but simply as he was, a great singer whose life grew beyond him, and out of control...
...depths make his comparatively restrained performances in The Great Gatsby and Smile teeter devastatingly on the brink of an explosion. But in his all-out roles--in Silent Running, Black Sunday, Coming Home-- Dern makes an art of modern crack-up: shaking, sobbing, barnstorming, often hitting false notes, losing control, making us fear that both the actor and the character will spill over simultaneously, capturing the peculiar self-consciousness of a real-life breakdown, where neither the "audience" nor the "actor" knows where the pain ends and the performance begins...