Word: darkeness
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Dates: during 1980-1989
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...group is cautioned about fires and littering, and then scatters. A few less experienced hunters trail along behind Bo, scaling a nearly vertical hill of fine, sliding sandstone and hard rock, arriving just below a cavernous outcropping -- a den. Browning is on his hands and knees peering into the dark crevices under the ledge, reflecting sunlight into the deep shadows with a mirror. He and a couple of Jaycees consult...
...time of dread," reads a legend at the start of George Lucas' new epic. Surely it was. We speak not only of the dour Middle Ages in which this sword-and-sorcery film is set but of the late 1980s, when Lucasfilm hit its dark age, after nearly a decade as the most profitable dream-mongering empire in movie history. By 1984 Lucas had produced five of the eight all-time top grossers. But that was a long time ago, in a land far, far away. Lucas' fantasies went murky (Labyrinth) or smirky (Howard the Duck), and his empire suddenly...
...again. There is a shroud of inevitability, of why-bother, about Willow's chase through the forest (done better in Return of the Jedi), the impromptu ride down a mountain on a warrior's shield (done better in The Living Daylights), on the whole tussle of light and dark. The only twist here is that the crucial tug of wills is between two women, the good witch and the bad, over a female messiah. One matriarch fights another in an apocalyptic biddy...
...likely to look kindly on his former aide's portrayal of the Reagan White House. Regan shows the President as immensely likable but disturbingly passive and vulnerable to manipulation. And he paints a surprisingly dark, meanspirited First Lady, whose meddling became the "random factor in the Reagan presidency." Regan, who served the Administration for six years, the first four as Secretary of the Treasury, details how Nancy, and not her husband, stage-managed his ouster. His profile of her in For the Record, which Harcourt Brace Jovanovich is publishing this month and TIME is excerpting in the following pages, constitutes...
Hideki Gondo (Tsutomu Yamazaki) is her dark double, a crippled, spidery man whose vast real estate portfolio includes a chain of notorious hot-sheet hotels. Gondo's outward manner vividly contrasts with Ryoko's. He too has a childish air about him, but it is the air of a spoiled child. Abruptly cruel and totally selfish, he is as maniacally dedicated to tax avoidance as she is to tax compliance. She may spare a moment from investigative accountancy for compassion (directed at his troubled teenage son). He may digress from getting and hoarding to express a possibly authentic romantic longing...