Word: doe
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Dates: during 1970-1979
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...Renoir films draw the devoted back for different reasons--The Rules of the Game for its seering social satire, Grand Illusion for its flawless humanity--but this film ranks as the French director's most endearing work. For once Renior lets us unabashedly sympathize with his protagonist, a dreamy, doe-eyed printer who stays up nights writing hack Westerns. The corrupt, sybaritic publishing boss closes his eyes to the printer's serial, "The Arizona Kid," and monopolizes the woman who the poor dreamer worships from afar. But Renoir slips a little social message into the revenge against this meany...
...cities on Dec. 17, has drilled into a sensitive national nerve. Overlong and preachy, exaggerated even within the bounds of satire, the movie nonetheless has the power of a frightening revelation (TIME, Nov. 29). Like the Frank Capra films of the '30s and '40s (particularly Meet John Doe), it is half entertainment and half message, a populist plea for the individual against inhuman institutions. But unlike the movies of those optimistic days, there is no happy ending...
...court in recent years has been expanding the right to privacy in sexual matters, and sodomy laws seemed a plausible next target. American Civil Liberties Union lawyers for John Doe and Robert Roe, two anonymous homosexuals, decided to challenge the Virginia statute before a Richmond three-judge federal panel, though the two had not been charged with any offense...
...sense part of the film noir style, thought it too deals with political corruption. The uneasy balance Capra strikes between his exposure of corruption and his reaffirmation is very much the same as that of his films of the 30s, like Mr. Smith Goes To Washington and Meet John Doe. While State of the Union is politically the least sophisticated of Capra's serious films, it is also emotionally the most exhilarating. Hepburn gives the best performance of her career as the wife of Spencer Tracy, presidential candidate, who wins back her husband's love by convincing him to remain...
...exposition of Edward Arnold in his pictures. Hardly anyone has ever done justice to the memory of Arnold, Capra's bloated symbol of all that was wrong with America in three consecutive celebrations of his defeat: You Can't Take It With You, Mr. Smith and Meet John Doe. In the first, he was an obese and lost soul, a rotten but salvagable capitalist. By the last, he had become a fascist threat, buying his own police state. If it hadn't been for the war, God knows what he would have done, but Capra was drafted...