Word: victimized
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Dates: during 1970-1979
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Cinderella's charmed evening is fated to end in disgrace, however. Her enemies engineer her election as prom queen, only to ruin her moment of triumph by dousing their unsuspecting victim with a vat of blood--an especially cruel reminder of the scene in the showers. DePalma has obviously deemed this moment as the climax of the film; he drags the viewer through an agonizing five-minute sequence shot entirely in slow motion. Discordant violin strains accompany the doomed couple as they ascend to the stage. The glow of Carrie's face pains us all the more as the camera...
...lawyer suggested that Sam Bronfman had a motive to plan the hoax: a desire for more money (though he received an annual trust income of $32,000). The lawyer also played one of Bronfman's tapes. He seemed to hint that Bronfman was not really a kidnap victim but just acting the part, because Sam's voice trails off in a final plea to his father-"O.K., Dad, that's it"-only to reappear a moment later saying briskly, "Do it again." Finally, the prosecution's own witnesses, two FBI agents who questioned Byrne after they...
...Jean Ross, the prototype for his fictional Sally Bowles, and wrote of her escapades in Goodbye to Berlin. Sally turns out to be somewhat less vulnerable than portrayed by Julie Harris in I Am a Camera and Liza Minnelli in Cabaret. Says Isherwood: "Sally wasn't a victim, wasn't proletarian, was a mere self-indulgent upper-middle-class foreign tourist who could escape from Berlin whenever she chose...
...movie's message is simple enough: Howard Beale (Peter Finch), the once popular anchorman of a national newscast, falls victim to the twin evils of booze and declining ratings, and Max Schumacher (William Holden), the head of UBS News, tells him he has to go. Suffering a momentary nervous breakdown, Beale goes on air to announce that in a week's time he will shoot himself on-camera. He has, he says, run out of the "bullshit" that kept him going...
...coarsens all the complexities of human relationships, brutalizes them, makes them insensitive. The point about violence is not so much that it breeds violence-though that is probably true-but that it totally desensitizes viciousness, brutality, murder, death so that we no longer actively feel the pains of the victim or suffer for the mourners or feel their grief. When the Hindenburg blew up, the reporter broke down on the radio. I can't imagine anything like that happening today. I imagine a detached, calm description of the ship going up in flames: "I do believe there will...