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...movies get away with. The sadism could be even more serious if Bond weren't amoral. Nobody can entrust his heart, even for a picayune 90 minutes, to a man who doesn't give a damn. So the camera can't linger over the agony he creates (a knife in the back) or escapes (poison in the tea). Bond has our sympathy only in limited amounts...

Author: By Joel Demott, | Title: The Dirty Dozen | 7/18/1967 | See Source »

...only to carry off this scene, there must be something in Richard to dominate the play and all its characters. This Alan Bates lacks. Less butcher than ballet master, less Machiavelli than Mack the Knife, Bates prances where Richard pounces, smirks where Richard sneers. While melodrama is often a parody of tragedy, it cannot stand the added parody of kidding itself, which is what Bates does. The kingdom of this play needs a masterful Richard more than Richard needs a horse...

Author: /time Magazine | Title: Theater: Outpost of Habitual Culture | 6/30/1967 | See Source »

...police and bands of youths roamed the streets, other incidents occurred. Several small fires were reported. One 16-year-old boy was struck on the head with a baseball bat. Another man was treated for a knife wound in the chest. Police with bullhorns convinced a group of about 100 to disperse in the only major confrontation...

Author: By Jonathan Fuerbringer and Marvin E. Milbauer, S | Title: Roxbury, Quiet in Past, Finally Breaks into Riot; Why Did Violence Occur? | 6/15/1967 | See Source »

While out on a patrol, Duncan testified, he radioed back to ask what he should do with two captured Viet Cong whose presence interfered with his mission. "Get rid of them," came the answer. The order meant, said Duncan, "to shoot 'em or stick a knife...

Author: /time Magazine | Title: Armed Forces: Men at War | 6/2/1967 | See Source »

Fort Utah. An Indian moves stealthily among rocks, then drops down on a lone rider. They grapple in a knife-and-death struggle. The scene, portrayed for what must be the millionth time, begins this assembly-line film, which includes almost every other cliche known to Western man. Nearly as old as the plot are the actors. An aging gunfighter (John Ireland), fleeing from his reputation, meets up with a wagon train carrying an aging, golden-haired lady (Virginia Mayo). Soon they are pursued by an aging villain (Scott Brady) and some aging Indians. In the end, Ireland blasts...

Author: /time Magazine | Title: Cinema: Some Things Never Change | 5/26/1967 | See Source »

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