Word: heroes
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...glum, frozen characters were even father removed from Hollywood cinema. The traditional movie hero was an action figure; the Antonioni antihero is inactive, passive, empty. Rich and pretty, he shows how meaningless it is to be a man of means. He in incapacitated by wealth, status and the availability of sex with good-looking people of the opposite sex. The advantages that the world's poor could only dream of have paralyzed...
...novels - The Bourne Identity (2002) and The Bourne Supremacy (2004) - picked up the reputation as a thinking man's spy series. Certainly they were darker, grimier, than the old James Bond films and their glitzy clones. (The latest Bond, Casino Royale, took some cues from the Bournes: made the hero more brutal, gave the visual a hint of grit.) But the notion of an amnesiac agent, a spy with no past, born into a web of intrigue, search for his true identity, is not automatically Oedipus Rex. Bourne, who needs no sleep or food or pee breaks, no downtime...
...realizes he's being watched; and, an instant later, getting taut, in situations where he expects the worst and tries to be prepared for it. The strategy is simple but effective. Damon uses the ordinariness of his appearance to help make Bourne invisible to his enemies, a working-class hero to the audience...
...that in silence, the director "found metaphors that illuminate the silent places in our hearts." In films like Blow-Up, L'Avventura and La Notte, Antonioni captured inner lives of alienation and angst with long, lingering takes and a paucity of dialogue and action. Critics hailed him as the "hero of the highbrows." But average moviegoers were so confused they once reputedly chased him at the Cannes Film Festival, demanding plot explanations. Antonioni was content with his brainy reputation--and his lack of mass appeal. "I could never do something against my tastes to meet the public," he once told...
...worked fast--at least a movie a year for most of their long careers--and relatively cheap. Both forged long relationships with their sponsoring studios. And Bergman was a strong influence on Allen's work: from his New Yorker parody of The Seventh Seal ("Death Knocks," in which the hero plays not chess with Death but gin rummy) to a cameo by the Grim Reaper in Love and Death and, more deeply, the inspiration for the theme and tone of Interiors and Another Woman. Shooting his new film in Spain, Allen took time to talk about Bergman with TIME...