Word: kowalski
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...devoted Bolshevik, simply a self-dramatizing wreck of a man without faith, family or country. His only love on earth is a prostitute called Lola (also a secret agent on the side). His condition is well understood by an ex-Catholic Pole, a sadist beast named Kowalski, who taunts Brennan with the knowledge that in following a dream of heaven on earth, he has lost honor on earth and all hope of heaven. A true nihilist, Kowalski knows himself as a "lost lackey'' of Stalin...
This lackey's lackey is Brennan. With cruel precision, Kowalski gives Brennan his last assignment-on the Feast of Corpus Christi. Assignment: to kill a mysterious ex-Communist who was known during the Spanish civil war as El Carnicero (The Butcher). Brennan cannot approach confession with this last act-to-be on his soul. In the end, he knifes his victim only to discover that he killed the wrong...
...market thriller which lacks only the zither-strumming of The Third Man. A secret is beaten out of a stubborn woman; a doublecrosser is shot dead in a forest; a valuable convoy of goods is lost, found, lost again. Throughout this tapestry of violence, Asch and his "good" operators -Kowalski, Stamm, Soeft-match wits with the "bad" operators, Hauk and Greifer. Both sides use the naive U.S. occupation forces for their own purposes, and Asch and company even capture a prisoner-of-war camp from its U.S. guards in order to kill the villainous Hauk...
Harvey L. White, who plays the brother-in-law, Stanley Kowalski, gives a somewhat less successful performance. In his speech and movements he remains all too content to imitate Brando, which inevitably results in a rather blurred picture of Kowalski. Eugene Bell, as Blanche's sometime suitor Mitch, suffers from from a similar difficulty. Mitch should be a little less the hulking animal and a little more a confused young man. Clare Fooshee, on the other hand, makes a fairly effective if somewhat too motherly wife for Kowalski...
...upstage, downed her onstage liquor as if it were the real stuff, generally hammed her way through the part in a spirit of riotous deviltry. In the play's climactic scene, where the script calls for Blanche to be set up for a rape by brutish Stanley Kowalski, most viewers feared for poor Kowalski. As Streetcar's wild run began, Playwright Tennessee Williams had unwarily cozied up to Tallulah in her dressing room (see cut). After catching her first performances, he began attending a nearby bar. Groaned he into his cups and to all who would listen: "That...