Word: lugosi
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Dates: during 1970-1979
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Kaye-Martin's portrayal of the master of the house was not masterful, but good--he had the job of portraying the banality of evil in a high-faluting style, but overdid the banality a bit. He rants and demands and insults with all the consummate evil of Bella Lugosi and Martin Bormann fused; Kaye-Martin overplays his role just so much, just so much that despite his overkill in the sexist-megalomaniac-asshole department, the crowd still takes his character seriously, according his work with all of the hisses and spittoons given the villain in any old time movie...
...into unexplained comas during routine operations. When he explains why he's doing it--the unimportance of the individual compared with the advancement of science--to a drugged Genevieve Bujold, the young doctor who has stumbled onto the terrible secret, the scene rings familiar. Colin Clive, Boris Karloff, Bela Lugosi, Lionel Atwill and a thousand others have been here before, and one wonders why Widmark isn't indulging in similar eye-rolling or stuttering. Crichton forces him to become a stoic zombie, as if to hide what this really is--a hokey mad-doctor scene--and thus robs...
...clear, whom only the Cross and the stake can bring to his apocalyptic destiny. Langella has always been a spectral, neurasthenic figure onstage with a temperament of icy disdain. For him this is a role of roles, one with which he will be linked in the future, as Bela Lugosi has been since the 1931 film...
...Including F.W. Murnau's classic 1922 Nosferatu, the celebrated 1931 Dracula starring Bela Lugosi, Roman Polanski's 1967 black comedy The Fearless Vampire Killers or Pardon Me, But Your Teeth Are in My Neck, a 1970 skinflick called Does Dracula Suck? and the 1974 X-rated Andy Warhol's Dracula...
Norma, his fantasy object, affects the accent of the Viennese doctor in Lugosi's Dracula as she discusses the "inner cheese of life." Just as self-consciousness leads Norma to make a joke out of the "energies of life," this whole book concerns Muldoon's discovery that the voice often masks the subject; action similarly disguises reality. Muldoon is aware that "unseen and mysterious forces" propel him. He recognizes that the Light--wisdom or maybe just balance--drawing him beyond the everyday world is as inevitable as the lure of the apple to Adam...