Word: wind
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Dates: during 1970-1979
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...philosophical and allusive, and, on the other, more that is naive, childlike or grotesque. This is not the place to pursue the matter at length, but it remains curious and noteworthy that the careers of the central figure in western literature and the central figure in western music should wind up in such a similar...
...severely damages of this difficult role is that it requires the actor to be overwrought for a prolonged time and yet clear. Madden gargles his denunciation of Camillo, and speech after speech in his lengthy argument with Paulina is not intelligible. And when he comes to speaking over the wind-storm, it's impossible to make out a single syllable...
...Wind and the Lion. If one believes in the adage, "any publicity is good publicity (just get the name right)," than a film like the Wind and the Lion should be reviewed on the day it leaves town. And as a matter of fact this abomination is leaving today, from the Beacon Hill, where it has been preaching the worst kind of fascist nonsense for the past couple of months. The responsibility belongs to USC Film School hot-shot John Millus, who, along with Robert Towns (shampoo, The Last Detail) is Hollywood's favorite litte scriptwriter This film he directs...
...George Rockwall's (former head of American Nazi Party) mind. Quick-cutting from the flag to a domineering father to bullets, to a penis, to Klu Klux Kian cross-burning, back to a church, to big artillery, back to mother, now crying, to the president, and so on... The Wind and the Lion is a stop away from this, with its approval of Teddy Rooseveit's lingoistic Wipe-am-out mentality, people going around constantly warning the going around constantly warning the Barbary Pirates (who have kidnapped Candice Bergen) that "the big attack" will have its way. When the Americans...
...forced to make them all loud-mouthed fools, blabbering their life secrets from separate pedestals. James Maxwell's boyish reporter, then is too much the eager puppy (on his way up); Robert Gerringer's Ernesto is too loud and theatrical. With the exception of Alexander Scourby as a wind-blown Papa, none of the actors can handle these pressures...