Word: victimization
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Dates: during 1960-1969
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...form throughout her new chapter on Stalin. No doubt it took courage for Svetlana to accept Trotsky's verdict that Stalin had created "an infernal hive of intrigues, forgeries, falsifications, surreptitious poisonings and murders." That is especially true since she had so recently regarded her father as a "victim" of the atrocities committed during his 25-year rule rather than their "author and perpetrator...
...young bride, Une Femme Douce finds Bresson dealing once again with the corruption of innocence, a theme that has dominated his work from Diary of a Country Priest to last year's Mouchette. For the first time, however, his central character is something more than a passive, symbolic victim. Her suicide is portrayed as a positive act of defiance, not desperation. Bresson's customary stylistic austerity seems softened by his first use of color film, but what François Truffaut called his "theoretical, mathematical, musical and above all ascetic" approach to the cinema may still seem much...
WHILE AT FIRST the man tries to explain to his captor that he is the victim of a fouled-up computer, soon he starts to go along with the routine-only to be told that he is 4-F anyway...
...psychologists and social reformers, he may be the victim of society; to existentialists, he is a genius manqué. But to the makers of film farces, the thief is only a lovable boob...
Coppola's other films (You're a Big Boy Now, Finian's Rainbow) have been overloaded with a kind of lighter-than-air dramaturgy, and The Rain People sadly falls victim to similar sentimental pretentions. The relationship between Natalie and Kilgannon derives from Of Mice and Men, and much of the dialogue is sophomoric Salinger, as when Kilgannon explains that "the rain people are people made of rain. When they cry, they disappear altogether because they cry themselves away." Still, the geography is simply splendid. Coppola seems to sense that lying between the Hudson River...