Word: terrorizing
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Dates: during 1980-1989
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...oblivious. In most countries a man's home is practically his personal free-fire zone, off limits to busybodies. And the U.S. has far and away more shelters and programs where victims can find solace and help. But the vast array of American services is to meet a vast terror: a woman's chances of being raped in the U.S., for instance, are five or ten times as great as in Western Europe...
...group. As horrified students and teachers rushed for shelter, the attackers sprayed the four-story college building with bullets. Before retreating to a waiting car, they lobbed a grenade through the front door and fired indiscriminately into another group of students in a nearby parking lot. The terror lasted no more than seven minutes, but it left three dead and 33 injured...
Full of humor and terror as well as pomp and circumstance, Fanny and Alexander in the end becomes a portrayal of adolescence--a time when a ragged teddy bear can no longer offer any solace. Fanny's small yet important role emphasizes the portrait's subtlety; on the surface the film could have been called simply Alexander, but blue-eyed Allwin as Fanny blossoms into a young adult as well by watching her brother's experiences. But Fanny is more of a silent observer. Alexander records the journey; and his recording reinforces the events themselves in affirming the importance...
...gothic catastrophe of French Edward, a good-looking tennis pro who discovers his mother in bed with his supposedly homosexual coach, nearly drowns in the Mississippi River and is fished out with most of his mental capacities washed away. He lives on as an automaton who is still a terror on the courts. The second reprised story, Midnight and I'm Not Famous Yet, deals chiefly with Captain Bob Smith of the U.S. Army and the crisis he undergoes during the war in Viet...
...other film maker has put these beliefs to such rigorous artistic tests as Bergman. Here, though, he has a merry time juggling his three weighty balls, maneuvering his characters and his audience from one house to another, from reverie to terror to awe. This is a movie where, as Isak says, "anything can happen." A nude statue can beckon to a wide-eyed boy; Fanny and Alexander can disappear from inside a steamer trunk; the ghost of Oscar Ekdahl can return home for a chat with his old, living mother. Such is the unique chicanery of movies, and Ingmar Bergman...