Word: villainized
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...Carson McCullers' Ballad of the Sad Café. He spat Henry Miller-authored obscenities in the 1963 Spoleto Festival production of Just Wild About Harry. He plays Karl Glocken in the film version of Ship of Fools, which premières this week. He is the comic-villain Mr. Big in an early episode of Get Smart, a promising new TV series due in September. And just to prove that acting is not all he can do, he has been filling a Greenwich Village nightclub with his booming baritone...
...Chief villain is the standard maniac in uniform-in this case a sensible-sounding but psychopathic U.S. Navy officer named James William Geraghty, commander of a nuclear submarine that is submerged under 50 ft. of polar ice when the big blowout comes on Christmas, 1965. When Geraghty finally surfaces, he finds himself on top: every higher-ranking officer is dead. After using machine guns to quell a rebellion by U.S. survivors who get it into their heads to elect a civilian government, he sets himself up as World Leader, or Commander-1. In his brave new science-fiction world...
...discover why they were having so little success helping young drug addicts to kick the habit, Social Worker Herbert Barish and Presbyterian Minister Edward Brown began playing detective on the streets of Manhattan's Lower East Side. After 18 months, they are satisfied that they have found the villain: she is that pillar of American culture known to every American...
...highwayman Captain Macheath is our hero-villain who faces the gallows. In a moment of passionate indiscretion he has married Polly Peachum, and now the greedy Mr. Peachum turns his daughter's situation to his own advantage. With the treacherous aid of Macheath's lovely women, Peachum captures our hero and delivers him, for the reward, to Newgate Prison. The Captain's other wife, Lucy Lockit, frees him, but in another moment of indiscretion he is captured again, this time by both Mr. Lockit and Mr. Peachum. The Captain should hang, and in a tragedy he would hang, but this...
...melodrama, based on an actual incident, pretends to concern itself with a moral problem: whether to save the masterworks or spare the men. It must have seemed a dull question to Director John Frankenheimer, who simply shunts morality onnto a siding and concentrates on the conflict between a fanatic villain and an athletic hero, playing tug of war with real trains. The results are exhilarating, but only in a muscular...