Word: plot
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Dates: during 1970-1979
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...capital, will occupy a new compound that includes a twelve-story office tower and residences, to be built on a 12½-acre tract some time in 1975. The 300 Americans attached to the U.S. embassy in Moscow will get a similar complex on a ten-acre plot in the center of the Soviet city...
That is all there is, but it is enough to make this the finest new play seen on the North American continent this season, barring a miracle. The reason is not in the plot but in Storey's ability to be as intimate with his characters' hurts, hopes, desires and fighting instincts as an incomparable specialist doing open-heart surgery. The cast cannot be praised singly or too highly. All are Americans, yet their English accents are so authentic that they seem to have been flown in by BOAC. Director Michael Rudman has elicited ensemble acting from this...
This is a movie that confounds all preconceptions and expectations. The plot-an innocent man is vaguely accused of a crime and shunted from prison to prison-suggests political reform, social outrage, harrowing character study and, ultimately, Kafka. But thanks to the skill of the superb comic actor Alberto Sordi and the subtly inflected direction of Nanni Loy (The Four Days of Naples), Why is a comedy that smiles like a razor...
Though the basic plot has remained the same, revolving around Mary, the assistant producer of a Minneapolis TV news show, the series has taken on a new and more interesting dimension. Still pretty, single and thirtyish, Mary is no longer the Doris Day-Julie Andrews brand of antiseptic woman. This year's Mary is even a little naughty. On one recent show she kissed a boy friend (Jerry Van Dyke) rather soulfully while in the newsroom. On another she spent the night at some fellow's pad, to the vocal dismay of her mother (Nanette Fabray). Judging from...
...triumph for her as it was for Bergman. She played a great stage actress who suffers an obscure spiritual crisis and decides never to speak again. Nor does she for the rest of the film, except for two words: "No, don't." The plot traced a duel of personality between the actress and her talkative nurse (Bibi Andersson), between the actress's corruption of soul and the nurse's innocence. Deprived of words, Liv spoke with a glance, a turn of the head, an enigmatic Gioconda smile. For much of the movie, Bergman simply trained his camera...