Word: metaphorizes
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Hodges apparently realized this, because he takes great pains to bury the thematic superficiality beneath a superstructure of desperate metaphor and elaborate production. The movie is rendered largely in frosty, antiseptic hues, giving every scene the air of the laboratory. The hospital where the operation is performed on Benson (George Segal) is called Babel. The doctors (Joan Hackett, Richard A. Dysart, Donald Moffat, Michael C. Gwynne) dress in white uniforms that make them look almost military, like shock troops of the future. After Benson has had the operation, which misfires, he runs all over Los Angeles killing at random, until...
...semantic balancing act that would have impressed Aristotle, promising to steer a middle course in foreign affairs "between an assertion of strength that is truculent and a confession of helplessness that is cowardly." The poet Robert Frost, growing impatient with Eisenhower's repeated middle-of-the-road metaphor, complained that "the middle of the road is where the white line is ? and that's the worst place to drive." But Eisenhower had a wider middle in mind, which served him well as a political credo. He deplored categorizing people "as liberal or conservative, rightist or leftist, as long...
...familial trauma in the plot solution. But it is to Chandler that the movie is very deeply indebted. No film has ever succeeded quite so well as Chinatown in conveying the ambience of Los Angeles before the war-sun-kissed, seedy and easy. The city was a central metaphor for Chandler, and it is brought alive here by Polanski and his collaborators, Production Designer Richard Sylbert and Costume Designer Anthea Sylbert. The film was photographed by John Alonzo in subdued, warm hues that give the effect of time and distance without pickling everything in soft-focus nostalgia. Chinatown suggests...
...metaphor for racial tension is perfect, full of challenging complexity, but it is perhaps better suited to free-ranging fiction than the limited documentary treatment it receives here. Two Men of Karamoja is ambitious enough, but the form itself does not allow Director Eugene S. Jones (who made the Viet Nam documentary, A Face of War) to work past the restrictions of chronology and penetrate the true heart of the matter. Documentaries must rely on what actually happens; a dramatic narrative only has to start there...
Thomas is a readable writer, and the events of the McCarthy period provide fine substance for his narrative sweep. Although he warns that his book is not a biography, Thomas convincingly illustrates the days of McCarthy's life. He settles on the metaphor of the buccaneer, and the book's thesis--if it can be said to have one--is that McCarthy had neither principles nor politics, but only the pirate's instinct to hit and run. One wonders why Thomas insists on so distinguishing this book as a non-biography. To be sure, he has glossed over the Senator...