Word: victimes
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Dates: during 1940-1949
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...stop a runaway horse was re-enacted in modern terms by a motorist named Hugh Kelly. Seeing a taxicab out of control with its driver slumped over the wheel, Kelly swung his own car in front of the cab, eased it to a stop. The cabdriver, victim of a heart attack, was dead by the time an ambulance arrived...
...choosing his victim, say Drs. Cohen & Coffin, the psychotic generally stays close to home: his wife, mother, sister or in-laws are favorites. The murder is often premeditated (one psychotic prepared again & again to kill his girl, but could not bring himself to do it when she was in a happy frame of mind; finally one night, when she was sad, he got it over with). But the crime is seldom shrewdly planned; many psychotic murderers operate in broad daylight, in public places, using any weapon that happens to come to hand. Another characteristic clue left by the mad killer...
...only two fights left in him, said Joe. He would defend his crown, for the 24th time, in September. Probable victim: second-rater Joe Baksi (see PRESS). Then, in another year, he would give someone else a final chance at him, and then retire-as undefeated champion, he hoped...
Like many a man who drives a ruthless bargain, M. Verdoux has his good side. He exhibits an exquisite gentleness toward children, the sick and the maimed, and even the humblest animals. He spares one prospective victim (a new Chaplin protege named Marilyn Nash), when he learns that she is the widow of a disabled war veteran and shares his burning pity for the helpless. He fails to close his deals with certain other clients too. He makes several brilliantly funny attempts on the life of rambunctious Martha Raye, but she was born lucky and is plainly indestructible. He nibbles...
...stretches, plain boring. But a few enjoyed the subtle, tragicomic ironies germinated by Chaplin's powers of intuition, of pure feeling, and of observation. The set pieces of pure slapstick are as skilled and delightful, and as psychologically penetrating, as any Chaplin has ever contrived. The casting (including Victim Margaret .Hoffman) is excellent and there are a couple of dozen fine pieces of characterization and acting, notably by Isobel Elsom and Martha Raye. Working with a new character, and adapting his old, mute artfulness to a medium new and basically hostile to him, Chaplin still has his sure virtuosity...