Word: evil
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Dates: during 1980-1989
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...starring role in Evita, has powerful scenes as an unwed mother who in desperation becomes a prostitute. The real star, however, is Nunn's staging. He sometimes spoils one effect with the hasty arrival of the next, but his conceptions are clear and simple. Almost every manifestation of evil, from Valjean's skulking emergence from prison to the army's brutal murder of a street urchin, takes place in gloom. The shadows are not soporific but turbulent with agonized life. They prefigure the almost celestial light in the finale, as the dead of Paris rise to join the living...
Galapagos puts Vonnegut one more safe step beyond the complexities of good and evil. The narrator is an amiable phantom named Leon Trout, son of Kilgore Trout of God Bless You, Mr. Rosewater and Breakfast of Champions. Leon speaks to us from the future, 1 million years after humanity is supposed to have $ extinguished itself. Among the survivors are a handful of tourists and Ecuadorian Indians on Santa Rosalia, an island in the Galapagos. It was there, in 1835, that Charles Darwin observed the variety of species that inspired his theories of natural selection. But according to Vonnegut, nature goofed...
...most glorious gifts that God can give us," McClintic writes, "but it says in James, 'The tongue is a very unruly member.' (A more expansive thought along that track from the King James version of the Bible is 'but the tongue no man can tame; it is an unruly evil, full of deadly poison.') I abused this gift in a world of loose morals and loose living. I could stimulate or excite other men into becoming part of different programs or buying various products. When it came to communicating the importance of an idea or product, I felt...
...Welles dragged the movies into modernism, with sequences that keep playing in any film lover's imaginary screening room: the three-story family squabble in The Magnificent Ambersons (1942); the hall-of- mirrors gunfight in The Lady from Shanghai (1948); the sinuous tracking shot that opens Touch of Evil (1958) with a bang; the magnificent pacifist battle scene in Chimes at Midnight/Falstaff (1966); and the Chinese-box structure of F for Fake (1975). The last title was appropriate, for Welles ended his directorial film career as he began it, with elegant sleight of hand at 24 frames per second...
...remain out there, tantalizingly unfinished. None of his post-Kane Hollywood pictures was made to his specifications; studio bosses cut Ambersons by 43 minutes. To finance his own pictures he became a successful strolling player: something of a matinee idol in Jane Eyre (1944), the wry incarnation of postwar evil in The Third Man (1949) and any number of lowing hierarchs and potentates in his nearly 30- year exile from another chance to astonish Hollywood. Now that he is dead, the industry that discarded him will nominate him for sainthood. It may also realize that in his life...