Word: tracing
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Dates: during 1980-1989
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WATCHING STANLEY JAFFE'S Without A Trace is like watching a professor scrape a piece of chalk on the blackboard: you want to see what he's going to say, but the method gives you an uncontrollable urge to turn away and leave. In Without a Trace, Jaffe's style of filming and connecting the plot often deters from his poignant and broadly applicable theme...
Hoffa was presumably murdered in 1975, when he disappeared without a trace. But Hoffa's successor, Frank Fitzsimmons, continued to allow Dorfman to control the union's pension fund, and Dorfman prospered in the murky, billion-dollar swamp of Teamsters loans and land deals. A dapper dresser fond of a round of golf and the company of old cronies, he lived with his wife Lynn in a $750,000 home in the Chicago suburb of Riverwoods...
...what Jean-Luc Godard called the Coca-Colonization of Europe made an early conquest of Eastern Europe too, worming not just into jeans but into dreams. The ecstasy of fear flashes on a teen-ager's face as he dares to sass a sadistic teacher, and one can trace the punk-heroic contours of James Dean. Seven years after the Soviet-crushed revolution, Hungarian youths want only to escape, if not to America then into its music and attitudes. But escape is an adolescent fantasy; maturity comes to these engaging kids when they realize they are stuck where they...
Thrillers may borrow some tricks from detective stories and some atmosphere from spy fiction, but they are essentially different from both. Such works can trace their lineage directly back through the medieval romances to the classical epic and its archetypal plot: a hero risks his life trying to master overwhelming odds. Modern incarnations of this nonpareil (out of, say, Raymond Chandler, Graham Greene or Robert Stone) have become increasingly antiheroic, their designs questionable and their morality ambiguous. But the trials they must endure, the plot of their quests, remain much the same, as formal and stylized as kabuki...
...viewer's passive complacencies. Practically, TV Producer Colin Callender and Director Jim Goddard had two options. They could create a new production for television, with naturalistic sets and discrete scenes, thus reducing the grand babble to Masterpiece Theater whispers. Or they could allow the actors to trace their familiar patterns, asprawl on the big stage, and catch as catch can. They chose the latter, and it was a wise choice; now this epochal production is preserved as fact, not as the fond memory of the 125,000 or so theatergoers lucky enough to have seen...