Word: shame
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Dates: during 1970-1979
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...remember a couple of films called Shame and The Passion of Anna, and how their director, Ingmar Bergman, viewed cowardly intellectuals set into primitive and violent surroundings, you can't help but think they're what Peckinpah schooled on for Straw Dogs. Bergman, developing his stories in narrative fragments and bursts of character self-analysis, built up a case for a tragic vision of man: isolated by nature from his fellow man, and by society from his better interests--those unions which can only be achieved through love, no matter how evanescent...
...past for the gnaried experience and hard-headed appraisal of American life which so rarely make it to the movies. It displays more skill, in all technical departments, than the subject matter deserves: The fact that Peckinpah can manipulate photography, cutting, setting, staging, acting like the Bergman of Shame and Anna matters not, if, in the final analysis, he can't fully express his soul. If Peckinpah wants to stick with his violent obsessions, he should light into the institutions most permeated. He should also be "cruel" enough to show developed characters in the throes of the forces he lets...
...love, I love without shame . . . I love to keep my hands in my pocket...
...anyone of needed further convincing, the recent Cleveland mayoral election illustrates the rapid demise of that city from "The Best Location in the Nation" to "The Mistake on the Lake." Through a strange concatenation of events which made the political prognosticators cringe with shame, law-and-order candidate Ralph Perk became Cleveland's first Republican mayor in 35 years by winning an election dominated by the Democrat who was leaving office...
Alexander Solzhenitsyn writes about this predicament so successfully it is a shame that Casper Wrede perverts it for such useless motives in his film. The rare moments of joy in One Day are the most consequent in telling of Ivan's character. In Solzhenitsyn's novel they arise from an innate hope which constitutes Ivan's endurance. In the film Ivan appears to rasie himself above his suffering by a superhuman effort of will. He becomes a willful hero rather than Solzhenitsyn's enduring stoic. But there is no possible point of departure for his courage and his emotional moments...