Word: graffitiing
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...young Hungarian took a version of the name Brasso as a pseudonym and for four decades he has photographed the streets and graffiti, nightclubs and their patrons, the artists, tramps and peasants of his adopted city. His pictures have become inextricably linked with the myth and mystique of Paris and have earned immortality for both the photographer and his subject...
This is a beefy, low-budget thriller that provides a few surprises. The milieu is rural America in the 1950s, a place in recent history that has become crowded with avaricious time travelers since the success of American Graffiti. One of the protagonists (portrayed vigorously by Max Baer, who served as producer and helped with the scenario as well) is an atavistic sheriff, the sort of gun-toting good ol' boy who gives law enforcement down South a certain cave man cast. The sheriff represents just that sort of legalized mayhem that made Walking Tall such...
...turns out that the Graffiti-style period winsomeness is just a diversionary ploy and that County Line summons up echoes of Walking Tall only to refute them. The movie is an antidote to hortatory vigilantism. It preaches, with heat and compulsive honesty if not precisely with originality, that the fruit of hate is terrible, indiscriminate violence...
...development of Something Happened parallels the development of the novel. Beginning with a straightforward realistic style, Heller progresses into an elliptical series of dreams, flashbacks, news bulletins, and small pieces of philosophical graffiti; more contemporary modes. At several junctures the process of fiction becomes self-conscious, as when Slocum says he's afraid of becoming repetitive because everybody will ignore him. The novel itself becomes repetitive when memories come back again and again to Slocum, but always to underline what's most important to him: his missed opportunities in sexual conquest, his fear of the new, and of death...
...supplied by British Director Winner and West Coast Writer Mayes, who offer a vision of New York City existence based less on firsthand experience than on old Johnny Carson-Dick Cavett monologues about getting home from the studio. Everywhere Bronson turns in a trash-and graffiti-glutted environment, he sees an old man mugged, a car being burglarized-and his gun is quick. Pretty soon he is stalking the gloomiest streets, the dimmest parks, the grimiest subways, inviting attack and expertly dispatching his assailants with his peacemaker...