Word: terrorization
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Dates: during 1960-1969
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...Czechoslovakia. The ultraconservative faction, led by Deputy Party Chief Lubomir Strougal, has wanted to put him on trial for treason. But Boss Gustav Husák, the Moscow-supported "realist" who last April replaced Dubček as party leader, has sought to prevent a return to the terror practices that gripped Czechoslovakia in the 1950s and early '60s. Last week, after a meeting of the ruling eleven-man Presidium in Prague, party officials announced that some time after Jan. 1 Dubček will become Czechoslovakia's Ambassador to Turkey...
...America and the Soviet Union obviously will persist, but armed conflict is a very distant possibility in the '70s. Since the Cuban missile crisis, both nations have slowly arrived at the tacit but wary understanding that dropping the bomb would mean global disaster, and the balance of nuclear terror has proved to be exactly that-a durable and war-deterring balance. A reactionary, repressive Government in the U.S., with a rigidly anti-Communist foreign policy, could upset the scales; so could the rise to power in Moscow of an adventurous, Stalin-like dictator. Total disarmament is and will remain...
...Testament of Dr. Mabuse has become directly physical. Mabuse controls men by telephone, not by hypnosis. He kills them by shutting them in rooms to starve instead, as with the first Mabuse's Richard Fleury, of working on their sensibilities to drive them to suicide. The acts of mental terror through which Mabuse controls his henchmen are cheap mechanical gimmicks. Even the scene transitions emphasize the physical. In Dr. Mabuse, the Gambler each cut to a new scene added new fantastic settings, new wonders for the intellect, new dimensions in depth for the soul. Here they limit freedom of action...
...increased dramatic force for every action. There's less detail, but it's all out front, working directly on us. His control of secondary incidents is complete: one gasps when a man with dark glasses simply appears at Cortez's wedding and stands in front of Dempster. Our terror increases when in close-ups, her face is partly blocked by the edge of his sleeve...
...such terror we recognize the power of each simple detail, the seriousness of all the beautiful things happening before our eyes. Sorrows is no sweet moralistic drama. The moral unity it maintains is the most complex of artistic attitudes. Satan, for example, is no villain. Indeed, Griffith discarded villains after America (1924). The men who rob the hero and heroine of Isn't Life Wonderful are driven to their crime by hunger and, like the two leads, by marital love. They are as human, as noble, as anyone else. Satan goes through more intense emotional crises even than the deserted...