Word: protagonist
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Dates: during 2000-2009
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...American Casino” has no Michael Moore, Morgan Spurlock, or Al Gore. No lone protagonist sets out to lead and shape the viewer’s understanding of the subject matter. Instead, director Leslie Cockburn speaks only through others—financial experts, city officials, and an array of Baltimore residents—in order to explore and explain the causes and effects of the current financial crisis. Through its masterful compilation of interviews and news clips, the documentary deftly weaves the personal with the national and the human with the financial for a holistic and disturbing take...
Nader’s protagonist is famed investor Warren E. Buffet. The plot describes the imaginary efforts of Buffet and a small coterie of other real-life elites to “take on the corporate goliaths” and “redirect the country toward long overdue changes,” Nader wrote in a recent piece on OpEdNews.com...
Initially the three narrators are leading separate lives, yet it soon becomes clear that their three paths intersect through the events of a mysterious unsolved robbery and an elusive woman named Joan Rosen Klein. Each protagonist is searching for something related to both Ms. Klein and the crime, a search that carries them all down a communal path of violence, hatred, and destruction. Ellroy’s is a well-crafted foray into the dark-side of America, but the author’s attempt at absolute historic totality hinders the novels complete success. Ellroy’s desire...
...Taylor's move, pitting him against longer odds, establishes him as the true protagonist of the show. At a time when many of the best TV dramas feature antiheroes (House, Breaking Bad, Mad Men), he's a rarity: an example of classical virtues - integrity, loyalty - depicted without gush or cynicism. His signature locker-room slogan "Clear eyes, full hearts, can't lose" would be moving regardless, but the Gary Cooperlike Chandler makes us see the grit and belief with which Taylor delivers it, even when he's pumping up a team he knows probably will lose...
There’s nothing inherently modern about John Eccles “Semele.” Written at the beginning of the 18th century, the Baroque opera narrates an Ancient Greek myth about a mortal protagonist whose jealousy for her divine lover costs her her life. But Harvard Early Music Society’s production of “Semele,” which ran this past weekend at the New College Theatre, manages to spruce up the antiquated setting quite a bit, perhaps predictably arranging the action in America’s own period of mythical free love...