Word: speaking
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Dates: during 1980-1989
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...never, in the film, reconciles with his parents; there is no fade-out kiss with Donna. His conscience has more urgent needs. To expiate the guilt of killing a fellow soldier, he must confess to the boy's family. To purge his horror of the village massacre, he must speak out against the war. He infiltrates the 1972 Republican Convention in Miami Beach and gets on TV. When a security guard dumps Ron out of his wheelchair, he fights back with a Marine's heedless bravery. "We're gonna take the hall back!" he cries to his troops. "Fall...
...envisioned by Nathanael West. As the tycoon (Rene Auberjonois) lays down the law (no social criticism, no politics, no hint of kinky sex), the moneystruck young writer (Gregg Edelman) peevishly retypes his scenes -- and, in an inspired bit of playfulness, that action causes his characters to move and speak jerkily backward, as if a film were being rewound, until they are back in position to perform the new bowdlerized version...
...bootlegging facts in the diplomatic pouch of fiction, Sinyavsky demonstrates the range of his virtuosity and literary cunning by echoing some Russian masters: Gogol of the satiric Dead Souls, Dostoyevsky of the subversive Notes from Underground, Turgenev of the pastoral Fathers and Sons, Nabokov of the evocative Speak, Memory. It is a special tradition, one in which publish or perish could have just as easily meant publish and perish...
...beginning of 1968, I felt a growing compulsion to speak out. I was influenced by my life experience and a feeling of personal responsibility, reinforced by the part I'd played in the development of the hydrogen bomb, the special knowledge I'd gained about thermonuclear warfare, my bitter struggle to ban nuclear testing and my familiarity with the Soviet system. My reading and discussions with a fellow scientist had acquainted me with the notions of an open society, convergence and world government. I hoped that these notions might ease the tragic crisis of our age. In 1968 I took...
...cannot speak too highly of the subtlety that two great actors, Freeman and Tandy, bring to their roles. Or of the faith that Beresford places in their ability to convey large emotions through an exchange of glances in a rearview mirror. Or of his trust in a script that speaks most eloquently through silences and indirection. All, finally, have placed their faith in the audience's ability to read their delicately stated work with the responsiveness it deserves. It would be a shame to fail them...