Word: plot
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Dates: during 1970-1979
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...point. The film is a call to action, and it ends with an address to the Argentine laborers: "Only the people's war will liberate the people," says a voice while scenes of demonstrating workers flash by on the screen. It is a tribute to The Traitors' engrossing plot and to its humanistic cinematography that such a class war seems not only justifiable but necessary. It seems the only way out of the oppressive poverty and unending exploitation the Argentine worker suffers...
Wedding in Blood, playing with The Touch, continues its week-long run at Harvard Sq., and if you're not up for one of the political films, this is your best bet in Cambridge's commercial houses. If the plot is all that interests you, Wedding is pretty much a rehash of the old crimes of passion story. If technique arouses you, if you are inspired by brilliant performances and intelligent social comment, then this is the film...
Coward's Lives is organized in an unusual and precarious manner for a situation comedy: a threadbare plot is sprinkled with "life-lines" (guffaw-inducing one-liners) for the major characters, Elyot Chase and Amanda Prynne, and occassional emergency appearances of the play's idiotic and insufferable secondary characters (Victor Prynne, Sybil Chase, and Louise). The first act introduces the entire plot: Amanda and Elyot, once married and later divorced, fall in love again while honeymooning with their newly found spouses, Victor and Sybil--two cretin-like characters representing the very best in English shallowness. There is no further development...
Private Lives has an exotic origin, an erotic icing, and a moronic plot which forces director Peter D. Arnott and his chief actors, William Franklin Hutson and Jan Lewis, to scramble desperately to salvage a basically nebbish play. Noel Coward, the first English playwright to introduce Henry Ford's assembly line production techniques to theater, wrote the comedy in 1930 while in Shanghai seemingly to pose a challenge: Who could take his featherweight literary sedative about marriage and sex in English high society and transform it into an exciting and riotous evening's entertainment? The Tufts Summer Theater company...
Colson's monstrous plot, however, can scarcely be constructed from such shards. Why, then, did he unburden himself to Bast? One theory is that Colson wanted to make a last desperate try to get himself (and the President) off the hook. So why not blame Watergate on the CIA, which is already highly suspect to much of the public and in no position to defend itself. If this was indeed the scheme, then considering how battered American institutions are and how in need of support and not defamation, it was one of the dirtiest tricks that Colson has played...