Word: villains
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...beginning of Iron Man - directed by Jon Favreau from a script by Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway - Tony Stark is nearly a cartoon villain, though he's drawn in the bold, confident strokes worthy of a '60s Marvel Comic cover by Jack Kirby. He has a Mephistophelean goatee and a glint in his eyes that suggests this former boy wonder is a genius at wasting his genius. He's a devoted practitioner of pride, lust and avarice, to name the fanciest of your deadly sins. This is a man who has got it all: wealth, power...
That machine keeps pumping vigorously right up to the climax, when the movie goes haywire with some pirouetting twists of character, after which the ultimate villain is handed an endless aria about why venality is the only efficacious way to do business. "What happened to just locking up the bad people?" asks Ludlow plaintively, only to be told...
...became a villain to many in his later life, when he took up the strident support of conservative causes, most notably that of the National Rifle Association. But no one questioned Heston's personal integrity. Like the characters he played, he said what he believed in, remained faithful to those faithful to him. He was married to the same woman, Lydia Clarke, for 64 years. She was at his side when he died...
...many, his visage evoked the cackling, maniacal villain Tommy Udo pushing an old woman tied to a wheelchair downstairs, in the 1947 film Kiss of Death. But offscreen, Richard Widmark played the true gentleman. Over his career, the chiseled, unconventionally handsome actor portrayed a vast array of characters--from frontiersman Jim Bowie in The Alamo to the head of a psychiatric institution in Cobweb to the corruptible boxing promoter Harry Fabian, one of his most memorable roles, in Jules Dassin's Night and the City...
...adopted in 1780 replaced the childlike Native American begging for help with the taciturn, muscled man standing upright that appears today. In a way, the image evokes Rousseau’s “noble savage,” emerging from the wilderness not as a barbarous or murderous villain but as a simple representation of the primitivist and paternalistic fantasy Europeans held about North America, a fantasy which envisaged the new continent as the seat of an uncorrupted paradise. His arrow pointed down in peace, his gaze forward, the hero of the seal takes on more of a proud...