Word: frans
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Dates: during 1970-1979
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...Devane), who combines his passion for gems with a taste for kidnaping. Ransom for his victims is demanded-and delivered-in the form of precious stones. The profit margin is high, and Adamson's personal life flourishes too: criminality sharpens his carnal appetites, which are centered mostly around Fran (Karen Black), his partner in bed and crime...
Hitchcock connects the lines of this rather unwieldy parallelogram with cursory concern for symmetry and suspense. As Blanche and Lumley draw closer to Adamson and Fran, the latter two assume they are being followed for purposes of blackmail, and plot accordingly. This leads to two scenes of automotive terror-Blanche and Lumley trapped in a car hurtling out of control on a winding mountain road, then trying to outrun a pursuing sedan on foot-that are among the clumsiest sequences Hitchcock has ever put together...
...makes his living doing day work in movies, character bits in commercials and specialty acts at small clubs. It is a hard scuffle, but Nicholas dotes on the comfortable insecurity of the life. At least it offers a neat opportunity to fend off deeper involvement with his mistress Peggy (Françoise Fabian) and keeps an eventual reconciliation with his wife (Carla Gravina) at a safe distance. Nicholas' only deep commitment is to the dubious luxury of noninvolvement...
...Jodie, returning to herself meant to the gray-skirted school uniform of the rigorous Lycée Français, where she gets straight A's. She and her mother, who divorced Jodie's father when Jodie was nine months old, share a modest house overlooking the Hollywood Bowl. Since her debut on the television series Mayberry R.F.D., Jodie brightened the short-lived Paper Moon on TV and has made a total of ten movies, including the yet to be released Little Girl Who Lives Down the Lane, portraying a teeny-bopper killer; Bugsey Malone, an all-child...
...Paris critic's response to Jean François Millet's Man with a Hoe at the Salon of 1863. And how the Second Empire's fear of the collective poor is distilled in the last six words! Proletarian labor, as a subject for art, was the invention of the 19th century; for that, the country-bred Millet was largely responsible. Other paintings of his met similar critical obloquies: The Gleaners, 1857, "have enormous pretensions-they pose like the three fates of pauperdom." The Sower, 1850, was greeted by one conservative as an insult to the dignity...