Word: sisterly
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Dates: during 1950-1959
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...virtually impersonal bodily function, and he is delighted to find himself in the presence of three attractive targets: Agatha (Madeleine Robinson), the young widow of Angelo's best friend in a prisoner of war camp; her burgeoning teenage daughter Sylvia (Dany Carrel); her sulky sister-in-law Pia (Magali Noël), a sensuous charmer with a body like molded quicksand. Angelo is not thinking of farm labors when he eyes the ladies tauntingly and husks: "You don't have a man?" Perceiving that this will doubtless blossom into an intimate family affair, he also assures them...
...Reds. Symbolically, the fortunes of war drive him to Kratovits, where he had spent a happy boyhood as a friend of Conrad, heir to the Counts of Reval. For Conrad and Erick there is nothing to do but to fight on fatalistically. Conrad is all gallantry, but his sister Sophie almost welcomes the destruction of their life...
...free, liberal Russia, and much impressed with the political ideas of a Jewish fellow student, now a Red officer. Sophie's new and growing love for Erick is rejected and she crosses class, family and historical lines to go over to the Reds. Presently, Conrad is killed; his sister is captured and sentenced to death as a turncoat. In a scene of cutting irony the White soldier, who usually performs the executions with his pistol, comes to Erick and reports: "She orders . . . that is, Miss Sophie asks . . She wants it to be you." Erick obliges. His first shot blows...
...show that priests and nuns are human, Brizzolara reports that "unfortunately, their humanity is all such movies can depict and thus give us only half a priest or half a nun . . . The best [Hollywood] can hope for is to show Father as a 'real Joe,' and Sister as a 'good egg,' naive, perhaps, but wisecracking, gay, dedicated-always the part, never the whole...
...perfectly the self-derisory note of the campfire raconteur. Her shorter stories are her best, and in tales of Indian, settler, miner and badman, she subtly suggests the tragedy of collision between aborigine and invader, and sometimes the more complicated tragedy of their collusion. Such a story is Lost Sister, a tale of a captured white child who became a squaw and sacrificed her life to save her half-Indian son from the U.S. Cavalry. Only in the one long story of the collection, The Hanging Tree, does the anticipatory whir of film cameras rise above the true sounds...