Word: eye
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Dates: during 1970-1979
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Precisely what Robert Mitchum is doing in Japan becomes a sticky point. Mitchum plays, rather snugly, a former private eye from California named Harry Kilmer whose pal Tanner (Brian Keith) calls an old marker on him. Tanner has promised to sell the Yakuza some guns but failed to deliver. In reprisal, the Yakuza has kidnaped his daughter and is threatening to kill...
While negotiating in Jerusalem, Aswan and Damascus, Kissinger had kept a worried eye on the rapidly deteriorating situation in Viet Nam. Bitterly, he blamed Congress for failing to continue a high level of military aid to the Saigon government. If he had had any inkling at all that U.S. aid would be cut back, he insisted, "I could not in good conscience have negotiated" the Paris Accords of 1973. "If we had put forward a reasonable effort and then they collapsed," he said of the South Vietnamese forces, "that's one situation. But if their collapse is traceable...
...chicanery but from its recreation of the rogue's paradise of inter war Europe. To a certain extent, facades are as important to film-makers as they are to bankers, and Resnais's pastel facade is everything you could ask for--intricate, exotic, and above all pleasing to the eye...
...death, had advanced his art to such a point that he was painting canvases that were--well, frankly, they were entirely black. They looked as if Reinhardt had given them a couple of swipes with a paint roller and called it a day. Some critics maintained that the discerning eye could pick out subtle variations from painting to painting--in the play of tone underneath the black, or in the direction of Reinhardt's brushstrokes--but the fact remained that to the masses, aside from the six of the canvases, all of Reinhardt's painting looked exactly the same. There...
...easy to imagine the shows as great emperor-without-clothes scenes--the critics and collectors, as Tom Wolfe writes, "now squinting, now popping the eye sockets open, now drawing back, now moving closer--waiting, waiting, forever waiting for...it...for it to come into focus, namely the visual reward (for so much effort) which must be there, which every (tout le monde) knew to be there--waiting for something to radiate directly from the paintings...