Word: logical
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Dates: during 1970-1979
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...well as then? Or to delineate the peculiarities of twentieth-century madness? Each endeavor requires a frame of reference; but since he has no definitions, he can have no conclusions. The only possible meaning his unlimited overview can give us is an Alice in Wonderland rule of revolving logic: that the irrationality of madness is such that it can never really be defined or predicted, like an enfant terrible who out of whim kicks down any castle of philosophical building blocks that the inquirer might care to construct around him. Which is a perfectly valid point, though it hardly requires...
...foolish? Again, these questions are useless, because there is no definition of madness. The way one regards mental illness is a result of the way one views life, and Friedrich seems unable to conceive of an existence where happiness is not an end nor self-preservation a rule of logic, where "those crazy people you see on the street" are perhaps not so crazy...
...With her flat voice and her tuned-out manner there is no hope of her playing anything like a typical American woman-or victim. She can only be what she is, a high-fashion model, a glamorous exotic. But that's all right. Her work gives her a logical reason to display herself, clothed and half-clothed in an erotic manner. It even supplies a certain twisted logic for the inevitable attack on her. She is, after all, a professional sex object. Why should she not attract-perhaps even seem to invite-the sadistic attention of a rapist...
...From Shanghai. Rita Hayworth, whose performance in Gilda so defined the fascinatingly sensual but dangerous woman of the period that her picture was painted an atom bomb, lures Welles into a deadly and mysterious web of murder and corporate intrigue. The film's atmosphere, evoking a sinister world whose logic is not apparent at the surface, is exactly what Polanski was trying to achieve in Chinatown. Welles's eccentric camera angles are carried to new extremes which accentuate the uncertain character of reality in the film; in particular, the climatic shootout in a hall of mirrors...
This proves to be no easy matter. For one thing, Rupert is constantly attended by a delectable nurse, Miss Deaton (Pamela Lewis), to whose charms he seems immune but to whose weird logic he succumbs. No suicide till the plumber comes to fix the hot water, she tells him. But he doesn't intend to scald himself to death, he argues. Non sequitur follows non sequitur. A trio of international jewel thieves arrives, but they also do quick-change sequences as Indian priests, complete with cobra and waxwork replicas of Captain Blood, Buffalo Bill and Marie Antoinette...