Word: stepsons
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...critical, some petty -- seems particularly force. "In the second Hiss trial," writes Zeligs, "Chambers . . . testified that Richard [his brother] had died on September 19, 1926. Whether Chambers knew it or not (and it is likely that he did), September 19, 1926 was the birth date of Alger Hiss's stepson. Timothy Hobson (an easy slip away from September 9, 1926, the actual date of Richard's death)." Zeligs attempts to tie this error into a chain of meaningful mistakes on Chambers' part...
...Hiss could have been lying. Zeligs gives no credence at all to his incongruous but hardly indefensible possibility. Nor does he explore a number of other, more speculative theories about the Hiss case which might have lent themselves to psychoanalytic study. Several people suspected either Hiss's wife or stepson of being involved in the passing of documents to Chambers, but Zeligs, after mentioning these hypotheses, subtly changes the subject without ever testing them...
...wealthy widow (Anna Quayle) who consoles herself by bawling the Kashmiri Song ("Pale hands I loved beside the Shalimar/ Whom do you lead on Rapture's roadway far?") while she somehow makes her harp sound like a bedspring banged with a coal scuttle. Before long teeny Tony, her stepson and heir, just can't face the music. So he runs a wire from his toy-train set to the frame of the harp, transforming it into a colossal toaster that does stepmother up brown...
...Game Is Over, which transposes a novel by Emile Zola (La Curée) into the present Paris scene, he gives them little else. Game tells the gamy tale of a hot young wife who commits incest with the hot young stepson (Peter McEnery) of her cold old husband (Michel Piccoli), and Vadim finds opportunities innumerable to show the world what a lucky man he is. Mrs. Vadim is exhibited stark naked in a bed of lust and rising from a garden pool like the White Rock girl. She also appears topless in a bathroom and bottomless under a hair...
...passion as a prime element, a life force that no more obeys the laws of convention than a tidal wave heeds the shore line. The heroine (Maureen Stapleton) is a kind of common woman's Phaedra. Just as the Greek Queen went mad in her passion for her stepson Hippolytus, this Sicilian widow near New Orleans goes mad in her passion for the memory of her dead truck-driver husband. When a young sailor lights the fires of love in the eyes of her 15-year-old daughter (Maria Tucci), the widow turns fiercely moralistic. Then the image...