Word: exploiter
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
This puts the Government in the position of being able to exploit the taxpayers' envy of each other. No longer do the taxpayers ask the unifying question: How much should we pay? They ask: Who should pay what? All modern tax debates, including the one just concluded, turn on this point. And the new U.S. tax law reflects the principle of envy. If the new long form for computing taxes is even more complex than the old, it should not be blamed upon bureaucratic obscurantism; it rises from the enormous pressure from taxpayer groups to correct particular inequities. Hard...
Although the early Alexander Kordan spectacle is as littered with scenery and overstuffed with a plot as most of the later Hollywood efforts to exploit India, its youthful sentimentality is somehow still far from sticky. Perhaps the picture succeeds because the actors are genuine Englishmen who look as if they belong in the country. All of them, that is, except the native villains. They are played mostly by Americans...
...fading actress, Wendy Mackenzie as an ingenuous country girl who becomes more or less great in betrayal, and Andre Gregory, playing an author whose weakness and fine sensibilities combine to ruin lives. These three set a hard mark for the rest with thoughtful portrayals designed intelligently to develop and exploit the respective characters. Especially in Gregory's case one sees how his characterization during the early, seemingly unimportant scenes, is a well calculated build-up to his later scenes. All three deserve more than the credit normally accorded to local performers...
British producers, it seems, know how to exploit a successful character type as well as any American who ever made three or four variations on the same basic idea. The title of Alec Guinness' latest picture is The Detective but it might just as accurately be called The Man in the White Suit Rides Again. Not that the plots are any more similar than one Abbott and Costello film is to another: it is the similarity of character type that constitutes a sequel. Father Brown is remarkably like that little fellow with the quizzical smile who engineered a mint robbery...
...Image is weakest, Richard's Inside Contemporania is most impressive. The author has written an engaging satire on the idealistic stranger visiting the modern scene, which requires near-perfect execution for success. Director Harold Scott has handled it admirably. His groupings, timing, and gestures are carefully thought out to exploit the opposing strains of modern jargon and idealistic declamation in Richards script, so that its humor is correctly balanced with its more sobering import. It is to Scott's credit that not a line is lost, especially in the expertly-managed final scene...