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Word: villainizing (lookup in dictionary) (lookup stats)
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Stephenson: Villain of the Piece...

Author: By Donald Carswell, | Title: Egg in Your Beer | 11/2/1949 | See Source »

...villain of the piece, a Navy-hating senator, remarks that the burning and sinking of several carriers at the Coral Sea and Midway is not an argument for more carriers. As it happens, the most striking parts of this film show our carriers being severely damaged. The argument of the movie's admirals is that they intend to carry the war to the Japanese homeland; this never happens in the film, and in the actual war the Army Air Forces did some bombing too. If the movie settles the interservice conflict for you, there is a recruiting van full...

Author: By Arthur R. G. solmssen, | Title: THE MOVIEGOER | 10/22/1949 | See Source »

...Dominguez' own, a jumble of the sort one sees at the moment of going to sleep or awakening, transformed and made monumental by the order and clarity of the painter's arrangement. A huge, expansive man whose rolling eyes and fierce mustache make him look like the villain in a melodrama, Dominguez may well become a new hero in French...

Author: /time Magazine | Title: Art: New Blood | 10/17/1949 | See Source »

...fruit-trucking trade. There have been better trucking movies (They Drive By Night), but none so fast or so violent. Most spectacular shot: Millard Mitchell burning alive in the remains of his rickety truck. Most surprising scene: the flagrant cruelty of the hero as he unmercifully slugs a flabby villain who doesn't want to fight. After breaking an ax handle on the villain's hand, Conte mauls him from one end of a bar to the other with a series of rabbit punches, each of which sounds like the cracking of a dinosaur's knuckle...

Author: /time Magazine | Title: The New Pictures, Oct. 10, 1949 | 10/10/1949 | See Source »

...realism comes chiefly from the absence of the typical villain-hero relationship that marks the average movie plot. Henry Fonda has the leading part but he only rebels against the mob; he cannot stop the lynching. Fonda takes the position of a muse that realizes, even raises his voice against the injustice, yet when the end comes, he has really been only a bystander. And the villains too are not singly responsible but are rather cowards whose weaknesses combined make a criminal potent enough to kill three...

Author: By Edward C. Haley, | Title: THE MOVIEGOER | 10/5/1949 | See Source »

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