Word: helling
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Dates: during 1960-1969
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Happier Than Hell. Law was beaten on Dec. 12, only eleven days before the crew's release, when the Communists discovered they had been outwitted by their prisoners. When a North Korean photographer snapped eight grinning sailors last October, nobody noticed that three of the captives were wigwagging an internationally recognized signal of obscenity with their middle fingers...
...home comforts of their jail. When a horse laugh heard around the world apprised them of their gaffe, the jailers turned on their hapless prisoners. Although all the men in the picture were tortured, they were elated by their feat. "About everybody in the crew was happier than hell," Law recounted, "because everybody could see what we were trying to do." Making fools of their captors and signaling their view of North Korea's crude propaganda had made the exercise worthwhile...
...that same cool eye is cast on more amorphous matters as the author struggles with formulations about such things as free will, responsibility and human nature. Recently C. P. Snow informed the press that the eleventh and final Strangers and Brothers novel will deal with "death, judgment, heaven and hell." If The Sleep of Reason is any indication of Snow's ability to deal with speculative issues in fiction, the next novel will prove a rather tedious and drawn-out farewell to Lewis Eliot...
...girl has no discernible talent for comedy and tends to deliver her lines as if she were practising English elocution. The people around her (among them Charles Aznavour, Ringo Starr, Richard Burton, John Huston, Walter Matthau, Marlon Bando and James Coburn) manage to look like they had a hell of a good time making the film, but, alas, this does nothing for the audience...
...Targets has one hell of a pay-off, and adding it to the film's generally successful calculation, Bogdanovich comes out pretty clean considering this is his first movie. Midway through he begins to set up a contrast between the horror of reality represented by the sniper and the melodrama horror of movie reality represented by Orlock. At the end, Orlock takes Bobby, knocking a gun out of his hand with a cane, asserting a potency he had thought nonexistent. Although ambiguous, the effect is one of total release: we are still in a movie, and in the movies...