Word: villainizing
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...meanie met his match: a nutty little old lady who came around selling fairy stories. When he barked, she cackled crazily and said: "I know it's you, you nasty man. May you bark till you find somebody who loves you." The villain smirked disdainfully and went right on barking, but in a minute-yipe! The slumlord physically became the cur he essentially...
...humor of this waggish tale depends principally on one fact: the slight but definite resemblance between Ustinov and his canine counterpart, portrayed by a swaybacked, dewlapidated Italian stage dog called Caligola. The spectator is continually reminded that inside the dog there is the villain, and the recurrent after-image of Ustinov doing all those doggy things is unfailingly good for an arf. Actor Ustinov, held in leash by Director Ladislao (Marcelino) Vajda, does pretty well for a mere human being, but of course he is not nearly so funny as Caligola. The dog wags Vajda's Tail...
...association. Booth's sorry hangers-on, with one exception (Payne, who did attempt to murder Secretary of State Seward), are merely frightened and bewildered. And poor Mary Surratt, kind, dignified and finally broken, goes to the gallows wondering at the inhumanity she can hardly comprehend. Stacton's villain is Secretary of War Stanton who organized the military trial, hand-picked the judges and suborned witnesses...
...fine, sentimental thing to watch Coop walk across a room, long arms held out from his hips, hands curving in toward invisible six-guns, and it is a useful time killer, while the plot boils on, to speculate about how a director might have made Coop a credible villain...
...Visconti's scenes look honestly at the appalling depths of brother love: two of the brothers quarrel over a girl, and one of them rapes and eventually murders her, yet is forgiven. But the acting is pointlessly, if deliberately, melodramatic; the murderer needlessly apes a silent-film villain-slack jaw, rolling eyes and all. Whole episodes are unprofitably murky. A question at the core of the film -whether corrosive city is preferable to deadening land-is never convincingly asked, although Rocco is supposed to end with its answer. Worst is the endless mayhem. Visconti's camera...