Word: cowed
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...Gawd," says Joy, as she walks wearily home through a London slum to her sordid flat and the petty thief she lives with. "If anyone saw me now, they'd say, 'She's had a rough night, poor cow.' " She has had more than that. But no need to worry; the important thing about this poor cow-and this film-is that the rough nights and days cannot get either of them down. Despite its scruffy scene and downhill theme, Poor Cow is not really another of England's angry proletarian tragedies. The film tells...
Documentary in style, Poor Cow opens with a closeup of Joy (Carol White) in pain. She writhes and thrashes, panting. A nurse puts an anesthetic mask over her face, and the camera moves down her body as the doctor's hands deliver the child and start it breathing. Though her husband Tom (John Bindon) is a crude, bullying, small-time criminal, Joy manages a pathetic simulation of middle-class domesticity-living in a development house, airing baby Jonny in a swanky pram, serving hostessy sandwiches to Tom's accomplices while they are plotting a caper...
...that Italian-born Producer Joseph Janni (Darling; Far from the Madding Crowd) has recruited from British television. Terence Stamp, 28, is the only member of the company with any movie experience to speak of. John Bindon, 24, is an ex-merchant seaman who has never even acted before. Poor Cow is also the first film for TV Director Kenneth Loach, 30, who has achieved a personal, idiosyncratic immediacy with a hand-held camera and ad-libbed dialogue that sounds natural enough to have been taken off a tape recorder...
...bombing North Viet Nam that have lingered in the President's mind as right -even though Johnson bowed to other pressures and grounded the planes for 37 days. Clifford was called to the White House Situation Room when war flared in the Middle East last June and Mos cow activated the "hot line." And it is Clifford who gathers trusted friends for good food and barbershop harmonizing at his Kensington, Md., home when a lonely President telephones and asks: "Can I come to dinner...
Viet Nam has become the profane cow of U.S. theater. Onstage it seems to inspire polemic frenzy, puerile logic and sob-opera bathos. That was true of the off-Broadway musical Viet Rock, and it is even truer of We Bombed In New Haven, a first play by Joseph Heller, whose Catch-22 was a novel of comic pitchblende. His lackluster drama is a kind of catchall-22, a wastebasket version of antiwar cliches too feeble for use in the novel. While the production is securely mounted by the Yale School of Drama Repertory Theater, student actors are scarcely...