Word: snodgrass
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Dates: during 1970-1979
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...Glenn Snodgrass Chatsworth, Calif...
...international spies. But John Farris' screenplay turns the sumptuous ingredients into--well, nothing; and although certain scenes leave shivery impressions with their nightmarish silliness, DePalma has paced the film slackly, with none of the mounting horror of his previous efforts. Kirk Douglas, Amy Irving, John Cassavettes, and especially Carrie Snodgrass are wonderful. But don't take a liking to any characters--eventually you will see them lovingly mauled before your eyes. John Williams has provided another goffily bloated score, and if you go in for DePalma's brand of sadism you'll probably have a good time. Otherwise, this...
...PALMA HAS CAST the film magnificently, with a keen satirical eye. Giving the lead roles to Kirk Douglas and Carrie Snodgrass must be his audacious reply to those who would put all-American zombies like Gregory Peck and Lee Remick in similar roles. Kirk Douglas's face has never seemed longer, and that dimple never more defiant. With the stature and angry leer of a depraved baboon (perfect for a DePalma hero), and a cuddly, newfound warmth, Douglas looks like a MAD magazine caricature of himself, and that is somehow very appropriate. Carrie Snodgrass, in her first appearance since Diary...
...stages the most powerful action sequence, the escape of Gillian from the parapsychic institute, in slowmotion, lingering over all the deaths. He characterizes his performers by how beautifully they bleed; a little snit in Gillian's school has blood dribble from her nose all over her lunch, but Carrie Snodgrass' blood splashes lovingly, lyrically over a windshield. Clearly, the more DePalma relishes his characters, the more he puts into their deaths. It would be nice to know something about his childhood and psychological background; perhaps it would give us a clue as to why he unleashes so much fury...
...bravura of such statements must be weighed against Sexton's desperate reliance on family, friends and Pharmaceuticals. Her need for love and reassurance was inexhaustible. "I want everyone to hold up large signs saying YOU'RE A GOOD GIRL," she confesses to Poet W.D. Snodgrass, the "Snodsy" of dozens of mash notes. Sexton could not settle for having ordinary pen pals. Her correspondents were her audience, confessors, advisers and advisees. Editors Linda Gray Sexton, the poet's elder daughter, and Lois Ames, a close friend and estate-designated biographer, make it quite clear that...