Word: human
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Dates: during 1960-1969
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Jaguars, snakes, frogs and alligators, as well as human faces and figures, provided the artisans with their motifs. The goldsmiths executed them with increasing sophistication. The very first of them, the Chavín Indians of Peru, for example, had only crude stone tools with which to beat the pure metal into shape...
...array of human wreckage straggles through the clinic in motley procession: a homicidal schizophrenic who was repeatedly raped and beaten at the age of nine; a wheelwright working even as he dies in penance for an imagined evil; a young girl, orphaned and being kept captive by syphilitic whores. Their tragedies begin gradually to touch the young doctor until, at film's end, he finally tells Red Beard that he wants to remain at the clinic. "You'll regret it," grumbles Red Beard, turning to hide his pleasure...
...plot, Red Beard could be Dr. Gillespie, and the intern Dr. Kildare: the story is that simple. But where his hero is a physician, Kurosawa is a metaphysician. Going beneath the bathos, he explores his characters' psychology until their frailties and strengths become a sum of humanity itself. Despite his pretensions, the young doctor is as flawed-and believable-as his patients. If Red Beard himself is a heroic figure, he is nonetheless cast in a decidedly human mold: gruff and sometimes violent-as when he forcibly takes the girl from her captors-he keeps the clinic open...
...give Kurosawa time to recover. Even without Tora! Tora! Tora!, Kurosawa has already produced a body of work-Red Beard is an integral part-that has assured his reputation as one of the monumental moviemakers of all time. He himself has said, "It is quite enough if a human being has but one thing where he is strong." Kurosawa's artistic strength is his ability to transform the stuff of life into elements of epic...
Verbal Combat Fatigue. The plot, insofar as there is one, is to get the fiance (Fred Willard), who wants to remain one in perpetuity, to marry the daughter and then do something or other with his life. As a photographer he has specialized in pictures of human excrement, which is presumably Feiffer's ultimate comment on the state of contemporary society. But the fiance is catatonically passive. At one point his would-be bride (Linda Lavin) says with caustic distress: "See, he doesn't know how to fight. That's why I'm not winning." Finally...