Word: realists
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Vittorio de Sica's Bicyale Thief and Roberto Rossellini's Open City, two Italian neo-realist classics, the former wearing a bit with age, the latter as powerful as when first released after World War II, at the BRATTLE THEATER. Thief at 6 and 9:30. City at Bogart is Back, again, at the HARVARD SQUARE THEATER, with Woody Allen's comic homage Play It Agaln Sam at 3:25, 6:10 and 9:40 and Michael Curtiz's Casablanca...
There was of course vast skepticism and discouragement in the early days. Says one McGovern worker: "If you were a 'realist' then, you decided that McGovern didn't have a chance; you went to work for Muskie." New Hampshire was crucial. From Yale and Harvard, from New York and Vermont, the young trekked to the state to ring doorbells and organize-500 of them each weekend for six weeks, 2,000 for the weekend before the March 7 primary. "Without question," says Edward O'Donnell, McGovern's national youth director, "it was those seven weekends...
Paisan. Rosssellini's classic neo-realist film of post-World War II. Allied occupation of Italy. With Socrates, made by the Italian master for French TV (a Boston premiere). CENTRAL SQUARE CINEMA II. Paisan: 8:05, Socrates: 6, 10. Portnoy's Complainst. A vile reduction of the mythically pornographic Philip Roth novel about a successful Jewish lawyer and civil libertarian who couldn't help privately pulling his putz. Gone is the gloriously-guilt-ridden self-consciousness of the main character, replaced with the smirk of writer-producer-director Ernest Lehman. PI ALLEY, continuous every two hours from...
...bureaucracy that is every bit as arcane as any occult Druidic circle. With engaging arrogance he can honestly boast that "England waits at my out tray." As a highly informed fabulist, Sinclair romps through the same corridors of power that C.P. Snow shuffles through as an unimaginative realist. Myth, politics and culture are nimbly glossed as the author tells of Magog's rise to wealth and prestige. In 1948 Magog, as a specialist in foreign affairs, pays for his sack time with a fierce Israeli girl by secretly shipping arms to the Haganah. He justifies his pleasure by rationalizing...
...daily burden of Noah but of the guilts and suspicions the boy created between his parents. The book also records moments of tenderness and deep understanding. Yet caught between love and despair, Greenfeld re uses to sentimentalize his or his wife's deflected lives. He is an enduring realist, particularly when forced to define himself. "I am," he says, "a father-writer." · R.Z. Sheppard