Word: villainizing
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...volley of brass suddenly screams bloody murder. Agent 007 knocks the widow head over high heels with a bone-jarring right cross to the jaw. Aha! Just as he thought: it was not the widow but the assassin himself. Accompanied by thumping kettledrums, 007 methodically works the villain over with karate punches and a well-placed kick, then strangles him to death. A clatter of cymbals brings on a gang of bodyguards as 007 bounds onto a balcony, coolly dons his one-man rocket unit and goes whooshing up, up and away to a shattering chorus of gunfire and screeching...
Webster's hero-villain is a spleeny young opportunist named Flamineo. He is secretary to the Duke of Brachiano. To better himself, he plots the murder of the duke's wife and his own sister's husband, thus clearing the way for his sister to marry the duke. When his brother becomes squeamish about this short cut to success at court, Flamineo kills him, driving his mother mad. In Act II, Operation Avenger, the duke, his new wife and Flamineo are, in turn, killed...
Subandrio's Refutation. But the army has coined its own acronym for the abortive coup d'état that killed six loyal generals and nearly toppled Sukarno. Gestapu-the initial syllables of the 30th of September Movement-is now Indonesia's vilest villain, as Sukarno's heir apparent, Foreign Minister Subandrio, learned much to his dismay. The army was now wondering if he did not have a role in the bloody coup attempt. But last week Subandrio tried to blame it all on the American CIA. "There are indications," he declared in a speech beneath tinkling...
Casting the FBI as villain has brought Author Stout publicity he has not had in years. It just seemed to make a good plot, he says, though admitting that "I think the untrammeled power of FBI is subversive to the American democratic idea." Normally, he does not let his views suffuse his mysteries. "By the age of 47," says the spare, spiny-bearded author, who is now 78, "I had written four so-called serious novels that had got some critical praise. But I realized that I was not and never would be a great writer. I had decided, though...
Every thriller must, to some extent, be unreal. The more unreal the film, the more it depends on extrinsic elements--an Aston-Martin, an industrial laser--for thrills. We know that James Bond will vanquish the villain and get the girl, but we want to see how he does it. The great thrillers, however, take believable, though not necessarily ordinary, men and women and put them in unusual situations. There should be room for dramatic subtlety and technical invention, as well as for excitement, as in a film like The Third...