Word: protagonist
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Dates: during 1970-1979
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...talents of the age, one who had seemed, through the 1960s, to be erratically and sometimes disastrously in decline: Marlon Brando. Brando is already being touted as an Academy Award contender for his role in last year's The Godfather. Now his emotionally wrenching, coruscating performance as the protagonist of Tango fulfills all the promise he gave in the earlier film of regaining his old dominance, not only as an actor but also as a star and a legend...
Revolution's single most memorable scene-the young protagonist dancing with his aunt, with whom he is having an affair-has turned up, with appropriate variations, in every subsequent Bertolucci film. One of The Conformist's most elaborate set pieces was the late-night Paris café, where all the customers got up to dance, spontaneously crowding the floor; Tango's lingering and desperate ballroom interlude gives the film its title. Bertolucci is smitten by dancing the way Hitchcock is obsessed by staircases. Each motif gives the director occasion to employ the best elements of his visual...
...eternal constant. Needless to say. Fogarty has little use for feminism. Without understanding the universal self deception of sexism in women as well as in men, he thinks women have consciously willed their own exploitation. (The short sightedness night will be the author's as much as the protagonist...
Barth is fond these days of recounting the origin of Giles Goat-Boy, his next novel. It seems that critics of The Sot-Weed Factor began commenting on the similarity between that novel's protagonist and the archetypal mythic hero--with his innocence, his rite of sexual initiation, his quest and so on. Barth himself protests that such similarity was quite unconscious, but once alerted, he set out to make good use of it. Written with the same complexity of plot and wild comedy that filled The Sot-Weed Factor. Giles Goat-Boy is the tale of George Giles, Everyhero...
...engrossing film unfortunately, it is a movie that focuses on the wrong subject. An expose of the "big time" evangelical preaching racket, this documentary has been conceived as a public act of repentance for former revivalist Marjoe Gortner. It serves almost entirely as a showcase for its egotistical protagonist and never confronts a more important topic--the lives and motivations of the people caught up in his religious revivals. As a result the audience is subjected to a frustratingly inarticulate exercise which is nevertheless provocative and revealing in spite of itself...