Word: whose
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Dates: during 1970-1979
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Altman certainly is not the first director to make films that mock the fraudulent elements of his culture. One thinks immediately, for example, of Luis Bunuel, whose films consistently expose the sham and hypocrisy of latin bourgeois culture. Bunuel's attitude towards his subjects is different from Altman's, however, and the difference says something about the directors themselves, and about the societies that have produced them...
...subtle film--which altogether ignores American movie myths--without first shattering those myths in films like M*A*S*H*, McCabe and The Long Goodbye. In retrospect, it's clear that Altman has helped American movies move beyond the stifling conventions of the genre to focus on ordinary people whose lives are important in their own right. He's given American movies room to breathe...
...Last Supper. Tomas Gutierrez Alea, the Cuban director whose Memories of Underdevelopment was popular in this country, directed this 1976 tale of a slaveowner overcome with "religious humility" who invites 12 black slaves to dinner on Holy Thursday, and casts himself in the role of Christ. Critics have labeled the film a bitter satire, which turns violent and moralistic when the slaves disobey their overseer the next day, trusting in the "magnanimity" of the Count to defend them. He doesn't. This is the New England premiere, and is highly recommended...
...album's best ballad comes from the music of a Ronstadt favorite, J.D. Souther, whose songs have consistently strengthened her albums. This time she picks a slow love song, backed by a sweet pedal steel. "White Rhythm and Blues" ends side one with a sweet, sentimental tone, Ronstadt's voice enveloping the soft electric piano of Dan Grolnick, whose keyboard skills are heavily used in this album...
...Horner, whose size and moves make him a kind of Ivy League Fred Biletnekoph, hauled in the Brown aerial and snuck out of bounds with one tick left on the Stadium clock...