Word: stunts
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Dates: during 1970-1979
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...possible that from the beginning, Lindbergh was burdened with a bit more symbolism than he should have been made to carry. His flight, for all its significance, was in some ways merely a handsome stunt. It was also one of the first great media events of the century. Frenchman Raymond Orteig had offered $25,000 for the first nonstop flight between New York and France.* Through the winter and early spring of 1927, the newspapers - then in one of the most aggressively competitive eras of American journalism - had promoted the race among Admiral Richard Byrd, the polar explorer, and others...
...that reckons without the third woman (Janice Rule), a painter of weird murals and wife of the sometime stunt man who owns the apartment house where the others live and the tumbledown roadhouse where they drink. Her work, her silences and solitude, more obviously-and less interestingly-symbolize a sterility similar to that of the younger women. In the end, the women dispose of the stunt man (who has had all three of them) and are seen to be forming a sort of feminine trinity -mother, daughter and granddaughter. They seem at once mad and serene. Maybe Altman is exorcising...
...Government back. He has become our first real television President. People always said that about Kennedy, but they were wrong. Kennedy was a man of words. I don't think Carter does very well with words. That fireside chat he held wearing a sweater was more than a stunt. It said a lot of things to a lot of people: we'll have to dress more warmly from now on, use less fuel and just be colder in general. He could have made 15 speeches and not made the point as well...
...usual movie, it is at this point that everyone decides to cut away from character and call in the stunt coordinator to wow the audience with a big finish, a slam-bang deployment of men and matériel, all hardware and hard knocks, with nary a thought for such behavioral patterns as the film's earlier sequences may have established for the participants. Not so in Man on the Roof, the Swedish-made policier based on one of the Martin Beck novels by Mãj Sjöwall and Per Wahl...
...occasionally reflects on the stunts he used to pull on unsuspecting audiences. A common stunt was to hypnotize two persons from the audience, and then show each person one picture which he described alternately as the funniest or saddest ever seen. As you can imagine, one person would be laughing uncontrollably while the other would stand aghast, on the verge of tears. "That always brought the house down," Sampson admits...