Word: macho
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Dates: during 1970-1979
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This leaves only one species for whom Russell can produce a kind word-and we are to understand that homosexuality is the sole source of Valentino's saintly patience and stoic courage. To illustrate this, the director concocts a sequence in which the star challenges one of his macho journalistic tormentors to a boxing match, takes a vicious beating but finally kayoes the nasty man, in the style of a gay Rocky...
Rollerball. This was made in the Nixon Era, and it shows. The word to describe this movie is hydrophobia; as Lyman Bostock, the second-leading hitter in the American League said, this film says everything there is to say about violence in American sports. James Caan is macho-competent, as usual, and the sets are something--the crowd scenes for this amalgamation of roller derby and first degree assault were filmed in the Olympic Stadium in Munich. In a way, it's a shame--in the hands of a William Friedkin, this could have been a 90-minute reminder that...
...genuinely widowed and turns to her attorney for solace, the lawyer throws himself with a certain relish into an affirmation of the male's primacy, declaring that this is a man's world governed by laws written by men and for men. Such an outdated paean to the macho ethic confirms your suspicion that the dirty hands of the movie belong neither to Schneider's murderess nor to her accomplice in crime and sin, but rather to their creator, Monsieur Chabrol...
...themselves to death. A glutton for punishment, Mastroianni has been lured back for another Ferreri satire. Called Bye Bye Monkey!, it is about an aging, asthmatic gardener who wanders down to a dump in a nameless large city and finds the remains of a movie monster named Macho Kong (no kin to King Kong). Hearing a whimpering sound within the monster's body, Marcello the gardener pulls out a baby chimpanzee, whom he treats like a child. "It's a fantasy film. You know, surreal," says Mastroianni, 53. "But after all," he asks with a Latin shrug...
...have little in common except their loneliness, but they meet and become fast friends. Their relationship soon provides the film makers with an excuse to explore the sexual underpinnings of Fascist ideology. As the downtrodden Antonietta falls in love with the sensitive Gabriele, she suddenly begins to question the macho ethic of her tyrannical husband. She senses, too, that there may be a correlation between her miserable married life and the authoritarianism of Mussolini's Italian state. Even though Gabriele eventually reveals himself to be a homosexual, Antonietta takes him to bed. Having discovered freedom, the heroine must sample...