Word: patly
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Dates: during 1980-1989
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...this galvanizing and polarizing force in presidential politics? Ironically, the description applies equally well to two clergymen who are antipodes in almost every other way: Pat Robertson on the Republican right and Jesse Jackson on the Democratic left. Though both speak in the cadenced tones of the pulpit and address themselves to a constituency that feels embattled and disenfranchised, they differ in race, personality, theology and cultural attitudes. From opposing ends of the political spectrum, each of them is playing a similar role in his party's early maneuvering for 1988 -- and playing it with a gusto that promises...
...Solomon Communication Editor: Bruce "Take this job and..." Kluckhohn Janitor: Brentwood "aka Beej aka BJ" Martin Lunch at Grendels Editor: Dahlia "think conservative" Weinman Four-Color Advertising Manager: Mark "Please, take my business card" Diker Cadillac Editor: Mark "pimpmobile" Segel East Asian Editor: Tai "Moo Bernstein" Hah Hospital Administrator: Pat "Can I show you my gallbladder?" Sorrento Food Truck Operator: Brian "forever Magic" Byrne
...Pat and Madjid help out a starving, sobbing woman by taking her to a camper park and finding her pathetic customers, while she leaves her toddler son alone to play. Although at first the boys do this for their own profit, they end up giving her all of the money for her child. The sight of the ravaged, ordinary, decent woman is horrifying enough even without any in-depth development of her character...
Later in the film, after the audience has become more accustomed to prostitution, Madjid makes the shocking discovery that Pat's sister, who says she's been working in an office, is actually working as a hooker in one of the more expensive streets. Madjid never tells Pat, but the sadness of his discovery hangs over him throughout the movie...
...final scene, the gang is at the beach. The police are coming, and everyone runs. Everyone but Madjid who sits, depressed, thinking of the helplessness he sees surrounding him. Pat looks at him, screams his name, but then frightened, he runs off with the rest. The police pick up Madjid and he stares out the window, listlessly. Adopting Madjid's point of view, the camera travels down the road. Ahead, it spots Pat. Freeze-frame. The final photograph of this film--Pat leaning back and waving, his hair blown back by the salt breeze--is worth sitting through two hours...