Word: woman
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Dates: during 1970-1979
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Perhaps the most shocking method that the Khmer Rouge used to enforce discipline was cannibalism. One refugee told a group of assembled Cambodians at Sakaew of an incident he had observed when adultery was considered a crime punishable by death. A married man and a pregnant woman wed to another man had been caught making love. The man was beaten to death. Then members of the local work team were forced to watch the woman's execution. Recalled the witness...
Kramer vs. Kramer is a rare movie that finds its tone, its focus and its poetry in its very first image. The image: a close-up of an anguished woman, her face surrounded by darkness. The shot is so intimate that the audience at first yearns for some relief. But the relief never really comes. Kramer vs. Kramer is composed almost entirely of actors' faces, of intense passions and of winter light...
...Paul Mazursky's Blume in Love first used comedy to expose the hypocrisies of the bright but sexist American male. After the women's movement took hold, films like Martin Scorsese's Alice Doesn't Live Here Anymore and Mazursky's An Unmarried Woman went further by trying to spread a new, liberated feminine ideal to a mass audience. Since then, there has been a benign backlash: a series of circumspect films about sensitive, unmarried men. Woody Allen's Manhattan and Bob Fosse's forthcoming All That Jazz are both, in part, self...
...lines of present-day sexual politics, Benton allows the issues to develop freely and inferentially from the unruly passions of his story. Kramer avoids explicit feminist debates, and it does not provide heroes or villains of either sex. By such omissions, it departs dramatically from films like An Unmarried Woman and Alice, which feature warm, wholly sympathetic heroines and men who are usually either bastards or saints. Kramer also breaks with nearly all the other unmarried-women and -men movies by refusing to use infidelity as a catalyst in its plot. Ted and Joanna Kramer are one film couple whose...
That is why, when Joanna finally reappears, it is hard to accept her. The woman who earned affection when she courageously walked out of her imprisoning marriage is now a villain: she wants to take Billy away from the father who sacrificed his work and restructured his life for his son. But again, Benton challenges the audience rather than let it leap to a pat moral position. As Joanna undergoes cross-examination at the custody trial, her virtues ever so slowly reappear. Because she has now regained her selfesteem, she seems better able than before to be a good mother...