Word: laszlo
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Since World War II, art vandalism has been relatively rare, and always (so to speak) personal. When a deranged Hungarian-Australian tourist named Laszlo Toth attacked Michelangelo's Pieta in St. Peter's with a hammer in 1972, it was because he believed himself to be the son of God. When the future art dealer Tony Shafrazi vandalized Picasso's Guernica in the Museum of Modern Art in 1974, he moronically fancied he was making a point about art politics...
...Zimmerman does not reinjure his wrist, the Harvard duo could make a significant showing. It faces California-Santa Barbara's David Decret and Laszlo Markovitz in the opening round tomorrow...
...where most of Rumania's ethnic Hungarians live. Ceausescu regularly accused them of sabotage and planned to destroy their villages and force them into housing complexes. Delighted at Ceausescu's fall, the Hungarians still wonder if the new government will treat them fairly. Case in point: the handling of Laszlo Tokes, the dissident Hungarian clergyman in the town of Timisoara whose harassment by Ceausescu's forces in December helped spark the revolt that eventually toppled the regime. Although Tokes was later named to the ruling National Salvation Front, he is still being guarded by the army in a remote northern...
Some lived even longer, to bear witness to atrocities and bring the beasts to justice. In Music Box the accused is Michael Laszlo (Armin Mueller-Stahl), a Hungarian now living in Illinois. Was he the malefic Miska, who as a member of the Arrow Cross during World War II raped women at gunpoint and tossed bundles of Jews into the Danube? Laszlo's daughter Ann (Jessica Lange), an attorney, believes her father is innocent and fiercely defends him in court. But the weight of survivors' testimony is too heavy, too obscene, to dismiss. Can she believe that her doting father...
...Laszlo must be guilty, of course; otherwise, there is no drama. Screenwriter Joe Eszterhas and director Costa-Gavras want to create that drama, but they do not give Ann a strong case to argue, so the film's only suspense is in how long it will take Lange (who gives a smart, sturdy performance) to face the truth. Nor do they allow Laszlo a chance to justify, however speciously, his rancid past. They are content to dwell on the sins of the fathers, in which humanism stares at bestiality across the generation gap. Even in a genial mood, Laszlo sounds...