Word: familiarizes
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Dates: during 1970-1979
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...early membership in the Nazi Party. (The relationship between Nazism and expressionist painting was, as Selz discreetly suggests, a good deal less antagonistic than is usually supposed.) But if the cult of the primitive was one aspect of expressionism, the scrutiny of the far less familiar recesses of the psyche was another. Kokoschka's painting of the avant-garde architect Adolf Loos is one of the few great modern portraits...
...Deal liberal, Strout-TRB rails regularly against such familiar betes as conservative economists, gun lobbyists, petroleum plutocrats, union busters, segregationists and polluters. Yet he is also troubled by the rise of illegal immigration ("We have a duty to blacks here who are unemployed") and has a deep reverence for the presidency ("The office has a tendency to lift even little men up"). Says Strout: "I get indignant easy." Agrees Washington Post Columnist David Broder: "He must get out of bed every day as if it's his first chance to set the world right...
...author succeeds in conveying a sense of loss without bathos. But his characters are familiar archetypes, and the family's newspaper gives off no scent of soul or sweat; too often the novel suggests the aroma of mothballs. The theme of A Family Trust demands a major treatment; it receives only a compelling outline. As a novelist, Ward Just is still promising rather than delivering...
...Need Is Cash is a mock documentary that follows a legendary rock group called the Rutles from obscurity in Liverpool to international fame. Most of its events are overly familiar. Like the Beatles, the Rutles play Hamburg and the Ed Sullivan show; they revolutionize rock with an album called Sgt. Rutter's Dart Club Band; they receive M.B.E.s from the Queen and fall under the spell of a guru...
DePalma uses familiar devices for familiar effects. He considerably subdues his revolving camera here, although when it arcs slowly around Douglas during the first scene, taking in the surrounding beach area, it conveys with great subtlety the oncoming danger. DePalma stages the most powerful action sequence, the escape of Gillian from the parapsychic institute, in slowmotion, lingering over all the deaths. He characterizes his performers by how beautifully they bleed; a little snit in Gillian's school has blood dribble from her nose all over her lunch, but Carrie Snodgrass' blood splashes lovingly, lyrically over a windshield. Clearly, the more...