Word: mobs
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...point is the prison scene. The day of D.W. Griffith has passed, and sheer numbers on the screen no longer amaze anyone. Kurosawa, however, manages to restore our old sense of wonder by taking his shots from impressive angles and by composing each sequence powerfully. We watch a limitless mob suddenly spring to life in their enormous dungeon; at the peak of their fury only the tips of their improvised clubs are visible, flailing fiercely up and down in the prison gloom. Then the camera shifts to the hill outside. From a point at the base of the slope...
...agents were about to flee to Haiti aboard a Dominican freighter. Before long an angry crowd had gathered at the dock, hurling stones at the ship, screaming for the pair to be handed over. An army unit arrived, took the men from the ship to the local garrison. The mob followed, still protesting, and the soldiers reacted in familiar Dominican fashion-a burst of machine-gun fire killed one man and wounded three. Next day, in the city of Santiago, another crowd shouting "The assassins must be punished!" was dispersed by bullets, with two wounded. In Santo Domingo, the capital...
...sword-drew attention away from his sizable gifts as a singer. His large, solid dramatic tenor is darker than most, has almost a baritone's quality; at his best Corelli uses it with an animal vitality and drive that leave no audience bored. In Italy bobby-soxers periodically mob him at the stage door, and there is every evidence that he may do for tenors what Ezio Pinza did for bassos. Says he: "I attract mostly young, very beautiful girls...
...tumultuous night, the S.A.O. strategy went completely off the rails. Raoul Salan and his S.A.O. staff planned to goad the Moslems with indiscriminate terror attacks until they lashed back with mob action against the Europeans. According to S.A.O. theory, once both sides were locked in racial war the French army would not hesitate to intervene on the side of the European pieds-noirs. But someone blundered, in what may well prove to be the fatal turning point for the S.A.O...
...great chorus roaring triumphantly to Handel's music: "And He shall reign forever and ever!" Seldom in cinema has the nature of revolution been realized with such profundity and expressed with such power. Bunuel indulges in no sentimentality about "the masses." Rabble is rabble to him; the mob is a beast with many heads that destroys both good and evil, that overwhelms humanity with animality. Nevertheless, Bunuel seems to believe that revolution is necessary in Spain, that only a revolt of the masses can dissolve its calcified social structure. But after the revolution, what? Viridiana witlessly abandons what...