Word: squalor
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...flawed effort of a young filmmaker who had seen one too many Bergman films for his own good, no such allowances can be or should be made for Stroszek. Five years of reflection and presumed growth have taken Herzog a painfully short distance, and this exercise in depression and squalor has mired Herr Werner still 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...
...list, buy a home of one's own. To a remarkable degree, that aspect of the dream las become a reality. Almost two of three American families own their own homes, a far higher proportion than in any other industrial nation. Though foreign visitors are appalled by the squalor of U.S. big-city slums, they are invariably awed by the spaciousness, conveniences and comfort of the houses in which most middle-income Americans live. Three or four bedrooms, two or three bathrooms, a modern kitchen?that is commonplace in the U.S., but fairly unusual even by the standards of affluent...
...salons, lend a nice air of authenticity. So do the script's lavish accounts of such Watergate minutiae as H.R. Haldeman's feud with Rose Mary Woods and Gordon Liddy's call-girl schemes. The heaps of dirt stuffed into the show amply convey the moral squalor...
...annually fork over to fedayeen organizations. Depending on their oil wealth, other Arab states chip in with similar but smaller tokens of support, while such ideological allies of the Palestinians as the Soviet Union and China contribute arms and other materiel. In fact, despite the much publicized poverty and squalor of the refugee camps that provide the fedayeen with a power base and a manpower pool, the Palestinians have what is probably the richest, best-financed revolutionary terrorist organization in history...
...action sequences promise bigger, better things to come. This implied promise of livelier things to come also helps get us through a middle passage where Roy Scheider, as the punk criminal, and Bruno Cremer, as the banker, are seen to suffer interminable misery in some of the most squalid squalor anybody this side of a PBS documentarian has put on a screen in a long time. Friedkin has probably been more rigorous about all this than the requirements of popular film making dictate. Since he has an international cast working in a foreign locale, much of the dialogue is translated...