Word: milo
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Catch-22 smacked of Restoration comedy. The characters trapped with Yossarian in the 256th Squadron had arch names: Major Major, General Dreedle, Colonel Korn, Milo Minderbinder. The contents seemed to be a series of hyperbolic World War II anecdotes, but its author confesses: "I wrote it during the Korean War and aimed it for the one after that." The book was criticized as flatulent, self-indulgent and anachronistic?"Engine Charlie" Wilson's General Motors, thinly disguised, was one of its archvillains. Moreover it followed Hilaire Belloc's irritating dictum: "First I tell them what I am going to tell them...
Military lore is replete with tales of slick operators who fast-talk their way past obtuse superiors, navigate bureaucratic absurdities and come out winners. Sergeant Bilko of TV and Milo Minderbinder of Catch-22 are winked at as engaging barracks rogues, and most Americans only chuckle when told, as one Pentagon official said last week, that "everyone has his own racket in the Army...
...leads him to the beginning of maturity. His first is with Dirty Jim (Henry Hull), an unregenerate old buzzard who prattles of "a fool killer," who poleaxes wrongdoers as they sleep. The figure haunts George's dreams until he actually finds him in the person of another fugitive: Milo Bogardus (Anthony Perkins...
Other men have lost their lives in the Civil War; Milo has lost his identity. He remembers nothing that happened before his war injury. Now, fearful and gullible, he traverses the countryside, a figure as lean and dangerous as the bowie knife he carries on his hip. When the two wanderers attend a fundamentalist camp meeting, George joins the screaming sinners who gather at the preacher's feet. The next morning the preacher is found hacked to death and Milo has vanished. George pushes on to a new town and eventually to a new home. But he knows that...
...little more than primitive art. Made in 1964, it was withheld during a five-year battle between co-producers. The slow dissolves, the gross use of filters to turn day into night, are rarely used today. Moreover, the local color is often put in by rote, as when Milo philosophizes, "Cities 'n' houses . . . come between us 'n' God," or when George addresses the camera in an arch epilogue. Yet The Fool Killer remains valid for two reasons. In its picaresque exploration of a naive, vanished America, it meanders into the Twain tradition of American fiction...