Word: protagonists
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Dates: during 1970-1979
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Writer-Director Brooks does not seem particularly interested in Keaton's Theresa, even though she appears in every scene. By switching the setting of Looking for Mr. Goodbar to a contemporary Any Town, U.S.A., Brooks has shifted the focus away from its protagonist. The book told the detailed saga of a troubled woman. The movie is a general diatribe against alleged American decadence: Brooks reduces the heroine's psychological background to a few broad strokes so that he can blithely blame her malaise on such irrelevant but cinematic phenomena as strip clubs, gay bars, TV game shows, strobe...
After the players finished up a relatively lackluster first half, the elements again asserted themselves as the protagonist in the story of the game. Just a couple of minutes into the second half, the clouds started raining liquid BB's on the field, and the wind picked up to the point where the foundations of Harvard Stadium itself seemed to shake...
...loses a cross-country match to be honest; he thought it would be immoral to win the challenge cup merely to please a vain warden--head-master. Sillitoe combines a vivid picture of the routine of lower class life using the loneliness of cross-country running to cultivate his protagonist's spiritual development...
...much as Kepesh may resemble Portnoy and Peter Tarnopol-the protagonist-victim in Roth's My Life as a Man-The Professor of Desire is not simply a rehash of the earlier books. Kepesh's monologue is a more humane and thoughtful handling of the subject that has fascinated and obsessed Roth in print for the past ten years: the woebegone, self-destructive tug of war between high aspirations and low lusts. Kepesh is another of Roth's Jewish centaurs, trying to keep his head in a cloud of pipe smoke while ignoring his pawing hooves...
...deeper in the quicksand of the art film syndrome. Stroszek is an aimless film about aimless people, society's losers who spend their lives groping for a promised dream that goes unfulfilled. Set in the slums of Berlin. Stroszek begins on a note of hope as the film's protagonist gains his release from a local mental institution. Played by a German actor going under the nom de theatre of Bruno S., the Stroszek character quickly becomes an awkward and self-conscious symbol of the social orphan. Herzog sketches the despair and alienation of the vagrant with an unflinching vengeance...