Word: plot
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Dates: during 1970-1979
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...Kansas City Mack (John Amos) and his boys, who feel they got bilked and want to work the same ploy on a rival gambler named Biggie Smalls (Calvin Lockhart). Now this is not a movie with jokes to spare. By the time Poitier and Cosby have rerun their plot, the meager supply has been totally exhausted. So has the audience...
...Report about Oswald's movements in the weeks before the assassination, which enabled him to be seen in two places at the same time. Canfield and Weberman contend that Oswald was earmarked by the CIA as a patsy for the assassination. Oswald, who thought he was involved in a plot to kill Castro, engaged in public pro-Castro activities to convince the Cubans to grant him a visa. The CIA plan was for Oswald to be apprehended with the visa in his pocket, tying Castro to the assassination and thus ensuring a full-scale invasion of Cuba. The authors trace...
...during the war by printing postcards of soldiers who had won the Iron Cross. All the characters are revealed as victims, afflicted by memories of what they suffered or what they inflicted. But there is one more victim of this curious book: the author himself. Berlin's "entertaining" plot is a kind of strategy for evading the very horrors he has resurrected. The price for that evasion is the Commemorations that is, instead of the major novel that might have been...
...rich capitalist bitch vacationing on a chartered yacht, most in her element when berating the deckhand who brings her iced coffee for the offensive odor of his sweaty shirt; Gennarino (Giancarlo Giannini) is the long-suffering deckhand, devoted equally to the Communist Party and to machismo. The plot is equally classic: shipwrecked together on a beautiful mediterranean isle, the two characters reverse roles entirely. Proletarian Gennarino humiliates bourgeois Rafaella sadistically, avenging class oppression and affronts to his masculinity simultaneously. But once Raffaella submits willingly, the "natural" position of man as master and woman as slave takes over and they fall...
Without dialogue, plot, or development, the monologues soon become tiresome and cliched. Patrick cannot sustain tension in this round-robin of self-revelation. He reveals more and more of each character, but he merely brings surfaces into finer focus, never taking us into the souls of the characters. The final speeches are searing, but we cannot empathize: by this time the characters have deteriorated into stereotypes capable only of synthetic emotion...