Word: ghosts
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Dates: during 1970-1979
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...KOPIT is not content to let his play end on a moment of high drama, when the ghost of Sitting Bull confronts Cody after the Wounded Knee Massacre. Rather, he makes a stab at the grotesque, forcing Buffalo Bill to read a catalogue of atrocities and try to justify them. His attempt fails, for this is a distortion of the character Cody has established, and the play lapses into incoherence. The dramatic affect of the play is irreparably marred by its ending...
...dichotomy arises between possession of the audience and her own personal life," Coe has said and that's the way it is, all set up in Act One, Scene Two to go nowhere discernible. Sure, she loses her baggage--Bentley Arlington concedes his courtship, Dad gives up the ghost and her nice guy manager takes off in search of new talent, but Casey is dramatically stillborn from her first scenes. There's a lot of staring out of an imaginary window with significant facial expressions but Casey does best with her clever humor and is rarely credible as a serious...
...Ghost and Hammer. Archetypical of the new manager is Eugenio Cefis, 50, president of Montecatini Edison, Italy's largest industrial firm. Except for a brief postwar fling at private enterprise, Cefis, who was trained as an economist, has spent most of his career working for ENI, the state-owned petroleum syndicate. Known as "The Ghost" because of his aversion to publicity, Cefis became the shadowy, indispensable Mr. Fixit at ENI. After he became ENI's president in 1967, he built a sound management team by breaking with ancient Italian tradition and wisely delegating authority...
...between such attempts at stylistic experiments that the film succeeds most. Macbeth is a horror story, sordidly realistic, brutal and bloody, and here the Polanski of the cinema of cruelty is completely at home. The murder of Banquo and the appearance of his bloodied ghost at the supper table, the discovery of the slaughtered Duncan, the madness of of Lady Macbeth, and Macbeth's final battle with Macduff--in all these scenes Polanski approaches a Shakespearean enjoyment in the sheer physical stuff of tragedy...
...title coyly suggest, Dealing traffics in drugs. Its hero is one Peter Harkness, a rather nondescript kid who lives off campus, listens to rock, fails to show up for his law boards, and occasionally mentions the approach of an hour exam as if to indicate that some cursed family ghost has just entered the room. So much for authenticity. For Peter rooms with John, rich aesthete and part-time dealer who soon has the pliable Pete off on a jet to Berkeley to pick up some dope. (Question then: when is a dealer a dealer instead of a pusher? When...