The Prodigal Son (Roger the Chapman Mysteries Book 15)


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Who had the audacity to suggest that the artist of consequence in the film was Olivier, not Shakespeare? But at the university level, more sophisticated approaches are now in vogue.

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They began to grow possible, I imagine, at about the moment in the late s when we began to hear, all at once, about the French New Wave and its key word, auteurism. The central figures of the New Wave Truffaut, Godard, Chabrol, Resnais, Bresson, Malle did not come out of the more practical backgrounds of most of their Hollywood and European counterparts. At the beginning, though, they did share a lack of interest in conventional narrative. It was not that directors were invisible and anonymous before the New Wave, or that the French proponents of the auteur theory were the first to declare that the director was the actual author of a film; it was more that many filmgoers themselves, after those watershed years of —62, began to go to a film because of who had directed it, rather than because of who was in it or what it was about.

But most moviegoers were not quite sure what a director did: His primary role, in the fictions retailed by the fan magazines, seemed to be casting. But now came an awareness that directors might be making their films to explore personal concerns, to create a movie as personally as a novelist was understood to write a book. The first directors widely understood to function in this way came from Europe. Bergman had his annual battles with his three great themes the death of God, the silence of the artist, and the agony of the couple. The Italian Neo-Realists cried out against social injustice.

The British kitchen sink dramatists and Angry Young Men turned to film a decade later to do the same. Fellini luxuriated in his wonderfully orchestrated processions of desire, nostalgia, and decadence. And then there was the New Wave. Hollywood directors were not yet, for the most part, thought to operate in the same way. Thus it seemed that two quite distinct levels had been established on which the medium could function, and that neither had anything much to do with the other.

But then two things happened. One was that in the same decade of the s television consolidated its gains over the movies as a mass medium and ended, for once and all, the mass habit of going routinely to the movies. A survey quoted by Film Quarterly in found that the average American spent 1, hours annually watching television, and nine hours at the movies. Hollywood, its audience shrinking, was no longer making its style B pictures, nor was it required to: Television was a B picture. Many event pictures were, of course, the sort of dumb but craftsmanlike entertainments any competent director could have made the better James Bond epics, for example, or " The Towering Inferno ," or the " Airport " sagas.

But as the s wore on into the middle and late s, many more American directors began to take on profiles as highly visible as the best Europeans. The second development was that, while these altered perceptions about films were taking place in the, if you will, more exalted atmosphere of serious films, a quiet academic revolution was taking place down below, in the realm of pulp, genre, and mass entertainment.

Now, even genre films, along with best-selling paperbacks and comic books, made their way onto the campus, disguised as Popular Culture. Yes, on occasion, said the popular culturalists, who looked beneath the seamy surface and found the buried structures that revealed the shared myths of our society. These developments—the rise of auteurism , its adaptation to commercial Hollywood pictures, and a new seriousness about the mass culture—combined by the middle s to alter, perhaps permanently, the way we regarded all the films we attended.

It is hard to remember how few serious film critics held podiums twenty years ago when Time magazine carried more influence, for that matter, than all the rest of the media combined—among the handful of moviegoers who read reviews at all. Strangelove ," a savagely satirical consideration of nuclear doom made in , and you can see the beginning of the end of the old American commercial cinema, and then the uncertain birth of awareness in this country of the auteur and the event picture.

Many years would pass before this revolution of taste was consolidated, but it is now more or less a fact. This changed way of regarding new films has been, in one way, a good thing. It has created a film generation tuned in to the interesting new directors, to the new actors willing to stretch themselves, to the screenwriters turning away from standard commercial approaches and finding new ways with material, new connections to themes that might touch us more immediately.

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It has opened up the Hollywood system to newcomers: Altman, Scorsese, Francis Coppola , Mazursky, Steven Spielberg , George Lucas , and John Avildsen are among the best contemporary filmmakers, and all of them were not only unknown ten years ago but would have been considered unbankable if they had been known. It felt new; there was an exhilaration in its audiences that fascinated and even frightened the industry, because the people watching "Bonnie and Clyde" were obviously finding things in it that the vast majority of American films had not given them before.

Finally the film was no longer funny at all, and then, in his final passages, Penn provided such suffering and such bloodshed for his characters that the movie myth of the romantic gangster was laid to rest forever. Where had he found his structure, his use of disparate episodes linked together by actors, each episode pushing the one after it further down into inevitable defeat?

He found it suggested, of course, in the screenplay by David Newman and Robert Benton. It had taken a decade, but the simple narrative film was finally no longer the standard Hollywood product. In the meantime, he taught, edited, and made an exploitation film. This new generation was faced with a paradox: They were encouraged to use the new cinematic freedom, they were set free to make their own films, and yet the prize was still defined as success at the box office. As Kael observed in an important article for the New Yorker , it was no longer enough to have a successful film, or even simply a good film; the new generation seemed to be going for bust every time, hoping to make the new all-time box office champ.

There have always been two kinds of theatrical cinema apart, of course, from the nontheatrical, experimental works sometimes called underground films. Years ago, movies were routinely categorized as commercial films, or art films—with no one bothering to define what was meant by art. Little foreign movies with subtitles played in art houses, and big-budget productions with stars played in the movie palaces. Conventional wisdom had it that art was found in the little films and entertainment in the big ones. But what now? With television preempting routine entertainments, and the best of the new directors moving cheerfully into frankly commercial projects no matter how good they might ultimately be , is the film marketplace being irreparably fragmented?

Must every film have huge grosses to be a success? As a daily film critic, I see almost every film of any consequence that plays in this country. I see all the commercial releases, and almost all of the imports, and at the Cannes, New York, and Chicago film festivals, I see a good cross section of the smaller films, domestic and foreign, that are worthy of festivals but not commercial enough for wider release. Much of what I see is, of course, worthless, and most of it is not worth seeing twice.

But there are still enough good films left over for me to feel, sometimes more often than you might think, that an entirely different season of films could be booked into the movie marketplace, replacing the films that do get shown, with little loss of quality. These are lost films, films that are the victims of the herd mentality of the American film audience. It has been eight years, for example, since the New German Cinema Rainer Werner Fassbinder , Werner Herzog , Volker Schlondorff , Wim Wenders , Alexander Kluge has been clearly identified in festival and critical circles as consistently providing the most interesting new movies coming out of Europe.

The filmgoing audience has been educated to a degree, yes: Subtitles are no longer the curse of death for a foreign film, and offbeat subject matter is now welcomed as easily as it was once shunned; stylistic experiments by directors like Altman whose sound tracks imitate the complexity of life or Scorsese who sets a frenetic, choppy pace for his characters to keep up with are easily absorbed by a generation saturated by television.

But the process seems now to have slowed down if it has not altogether stopped. In the early days of the revolution, I often discovered films being played in nearly empty theaters which nevertheless gave me quiet delight and satisfaction because I knew they had been made by artists with vision and the determination to work it out. This is less and less true for me nowadays. We have learned from the New Wave, even if indirectly. We have grown conscious of individual filmmakers, and alert to personal styles. But we have also grown wary of the odd film, the film that is not an event, that leaves some of its viewers filled with admiration and others simply confused.

The New Wave as a revolution is twenty years old; its victories are consolidated and taken for granted. But there is still resistance to a new New Wave, the film that does not simply improvise with narrative but tries to leave it behind, to liberate itself from explanation and paraphrase and work in terms of pure cinema. It has been many decades since art, dance, or music were required to have paraphrasable content, or even thought of in that way.

A similar freedom has come more slowly to the theater, and hardly at all to film. Movie advertising and promotion executives believe a sure key to box office success is a movie that can be described in one easy sentence:. Marlon Brando meets this girl in an empty apartment, and they…. There did seem to be a brief moment, in the late s, when narrative films were becoming obsolete. Road pictures often functioned as clotheslines on which the director could hang out some of his ideas about American society, at a particularly fragmented moment in our own history.


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Other films abandoned narrative altogether. Underground and psychedelic films surfaced briefly in commercial houses. Nobody has been much interested that some of them "The Godfather" and "Chinatown," for example may have richer levels of psychological and visual organization. It appears, then, that films aimed only at the eye and the emotions cannot find large audiences.

Experimental filmmakers can try out fascinating combinations of color, light, pulse, cutting, and sound as Jordan Belsen did. They can even create works in which the actual cone of light from the projector was the work of art, and instruct the audience to stand where the screen would be as Anthony McCall has done.

But their nonnarrative works play in museums and galleries and on the campus; commercial feature filmmaking and its audience seem as committed as ever to good stories, well told. But I believe the future of feature films as an art form lies in the possibilities beyond narrative—in the intuitive linking of images, dreams, and abstractions with reality, and with the freeing of them all from the burden of relating a story.

I certainly do not believe the day will come soon when large audiences forsake narrative. My concern about television should be almost self-explanatory. Most of us probably spend too much time watching it. Most of it is not very good. To catch and retain our attention, it has to go by quickly.

These smaller climaxes are interrupted at approximately nine-minute intervals by larger climaxes, called commercials. A commercial can sometimes cost more than the show surrounding it and can look it. Made-for-television movie scripts are consciously written with the thought that they must be interrupted at regular intervals; the stories are fashioned so that moments of great interest are either arrived at or as often postponed for the commercial.

I have expressed concern about our obsessive love for narrative, our demand that movies tell us a story.

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Perhaps I should be just as concerned with what television is doing to our ability to be told a story. We read novels for many reasons, E. Forster tells us in a famous passage from Aspects of the Novel , but most of all we read them to see how they will turn out. Do we, anymore?

Traditional novels and films were often all of a piece, especially the good ones, and one of the pleasures of progressing through them was to see the structure gradually revealing itself. Is the mass audience still patient enough for such craftsmanship? Or has the violent narrative fragmentation of television made visual consumption a process rather than an end?

I might have chosen a number of other films for a discussion of the nonnarrative possibilities of the medium; I choose these two not only because I think they are genuinely great but because they share a similar theme and so can help illuminate each other. Neither film was a commercial success. Both films dealt with women who exchanged, or merged, personalities. Neither film ever explained, or tried to explain, how those exchanges took place. For many members of the audience, that was apparently the trouble.

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After an opening consisting of a quick montage of images about which more later , Bergman introduces the premise of "Persona. The next day she tries to shake off her strange silence, but is unsuccessful. The nurse is apprehensive from the first: What if the actress, so much stronger and more famous, proves to be too much for her?

That is apparently what happens. The two women enjoy a quiet existence together for at time, picking berries, sorting mushrooms, taking walks on the beach. But eventually the silence of the actress draws the nurse into more and more compulsive conversation, including a long monologue in which she describes a youthful sexual encounter on a beach.

The actress breaks the confidence by describing the anecdote in a letter to her husband—a letter perhaps deliberately left unsealed. When the nurse reads the letter, she feels so angry and betrayed that she deliberately leaves a piece of glass where the actress will step on it.

When that happens, the film apparently breaks. The film, happily, would break, or someone lower the curtain by mistake; or perhaps there could be a short circuit, so that all the lights in the cinema went out. I think the shadows would continue their game, even if some happy interruptions cut short our discomfort. Perhaps they no longer need the assistance of the apparatus, the projector, the film, or the sound track. They reach out towards our senses, deep inside the retina, or into the finest recesses of the ear. Is this the case? This is his mystical, almost savagely yearning wish for the way his film should affect us.

There is the dream sequence I mentioned at the outset the one, to repeat, that may not be a dream. Two doors, brightly illuminated, are on either side of the screen. A bed is in the foreground. Curtains seem to obscure the views back into either of the doorways. A foghorn is heard. Something is said or is it said? She rises. They embrace, and then turn slowly so that both look directly at the camera. Later in the film there is a long monologue in which the nurse seems to know personal secrets in the background of the actress: How she feels about her husband, her child, her sex.

Bergman shoots the scene twice, once with an unbroken closeup of the nurse, then again with an unbroken closeup of the actress. Then, stunningly, he uses a double exposure to blend the two faces together. And we remember that among the images at the very beginning of the film were those in which a small boy reached out a hand to touch out-of-focus faces on a screen: The faces of two women. What I have written here is so far from describing the effect of the film, the mystery of its strangeness and greatness, that I might just as well not have bothered.

There is, to be sure, no end of clues for the scholar determined to make sense of "Persona. After two decades of making films which were often about artists who found themselves creatively impotent, he suddenly found himself in that very dilemma. But I know that 'Persona' literally saved my life at the time I was writing it. I was very ill. So I started to write down some lines every day, just a few lines, just for the discipline of going from the bed to the table without falling over. As a filmmaker, I could not work if I could not move.

Now here was a story about an actress who stopped working one day, surrendered her ability to talk. As a functioning filmmaker, he might as well have been paralyzed. And so now we have the autobiographical reference, if we want one. The montage of brief images at the beginning of the film represents his own recreation of his art, and of his ability to function.

I reflected on what was important, and began with the projector and my desire to set it in motion. Again, when the film breaks after the actress steps on the glass—that is the moment when the filmmaking tension has become too great to bear, so that Bergman the artist breaks and must start again. That was…when I got ill again, and the whole thing had come to a stop. These are things I know now, and yet I have not begun to get to the bottom of "Persona," even after seeing it perhaps a dozen times, after teaching it many times with the film analyzer, and, indeed, after discussing it with Bergman.

But what did I see on the November afternoon in , when I had been a professional film critic only six months and was therefore presumably fairly close to the average, if serious, moviegoer I hoped to write for? In looking back at my own review of "Persona," written the same day I first saw the film, I find the same mystification in my own first response that so many other people feel. The nurse is maddened by the unspeaking actress in the same sense that the audience is frustrated by the movie: Both stubbornly refuse to be conventional and to respond as we expect.

I suppose I intended that as praise. I awarded the movie four stars, in that conventional newspaper movie review shorthand that also awards "Jaws" four stars. But I did not understand it. Or, more correctly, perhaps I understood it and did not know that I did. I did not find the feeling in the images, because I was staring at them so hard to spot their meanings. I know today, because I have been told, exactly what each of the images in the opening montage represents. But that sort of knowledge is really movie trivia; spiders and ghosts and cadavers and a nail being driven into a hand have visceral meaning if we let them, and Bergman was not putting them in, I suspect, so that the scholars of his work could take them out again and label them.

They are there for the viewer to respond to as he wishes. General manager helped Pittsburgh Pirates win 2 World Series titles Brown, Linda Student in the landmark Brown v. Board of Education U. Brown, Marcia Award-winning children's book illustrator Brown, Michael Teenager was fatally shot by a police officer Brown, Nappy Blues singer climbed the Billboard charts with his gospel-influenced style Brown, Ruth Whose recordings shot her to rhythm-and-blues stardom in the s Brown, Vivian Famous San Francisco twin Naval Academy Brown, Wesley Oldest sitting U.

Browne, Joy Nationally syndicated call-in talk show host Browne, Malcolm Photograper of Vietnamese burning monk Browne, Sylvia Popular psychic and author Browning, James The nation's longest-serving federal appellate judge Brunetti, Argentina A character actress who played the worried wife of Mr. Martini in the classic film "It's a Wonderful Life" Buchwald, Art Pulitzer Prize winning columnist chronicled the life and times of Washington Buck, Leslie Created the cardboard cup that became a pop-culture emblem of New York WWI veteran Buckley, William F.

Erudite Ivy Leaguer and conservative commentator Buffone, Doug Former Chicago Bears linebacker Building Explosion Victims, Harlem At least seven have died in a gas explosion Bumpers, Dale Former U. Bunch, Jon Co-founder and lead singer for the emo band Sense Field Burden, Chris Noted performance artist and sculptor Burke, James E. Burns, Conrad Former Republican U. Burns, Marilyn "Texas Chainsaw Massacre" actress Burri, Rene Prominent Swiss photographer Burton, Roderick Up-and-coming rapper known as "Dolla" Burton, Tony Actor played the trainer in six "Rocky" films Bush, Prescott S.

Brother to one U. Bush, William H. Buster, Prince Legendary pioneer of ska music Butcher, Susan Four-time Iditarod champion dominated the 1,mile sled dog race in the late s Butler, Robert Pulitzer Prize-winning expert on aging who coined the phrase "ageism" Bygraves, Max Veteran British entertainer known for his old-fashioned charm Byrd, Donald Leading hard-bop trumpeter of the s Byrd, Harry F. Former senator from Virginia Byrd, Robert The longest-serving senator in history Byrne, Jane Chicago's first and only female mayor Cady, Frank Played the general-store owner on "Green Acres" Caesar, Sid Comic genius of s television Cahir, Bill Former journalist who joined the Marines after September 11th Calero, Adolfo Former Nicaragua Contra leader Calero, Miguel Played with Mexican soccer club Pachuca Callahan, James "Jim" Former Kentucky state representative Calley, John Ran three Hollywood studios Camerino, Giuliana Coen Designer credited with making handbags a fashion item Camp, Rick Former Atlanta Braves pitcher Campbell, Bill Philadelphia radio and TV sports announcer Campbell, Carroll Politically savvy former governor who helped make the Republican Party a powerful force in South Carolina Campbell, Delois Legendary gospel singer Campbell, Glen "Rhinestone Cowboy" country singer Campbell, Will D.

Civil rights leader and renegade preacher Camping, Harold Doomsday minister and Christian evangelist Campos, Adriana Popular telenovela actress Camuto, Vince Legendary women's footwear designer Cannell, Stephen J. Cantu, Sandra 8-year-old girl had been missing for several days Capa, Cornell Pioneering photojournalist used his camera to illuminate social and humanitarian causes Caray, Skip Voice of the Atlanta Braves and part of a family line of baseball broadcasters Carey, Harry Character actor whose career spanned over 50 years Carey, Hugh Former New York governor Carey, William Polk Entrepreneur who donated millions to education Carlile, Kaiser Batboy struck in head by practice swing Carlin, George Dean of counterculture comedians was known for his biting insights on life Carmen, Jeanne s pinup and B-movie actress hobnobbed with Frank Sinatra and other stars Caro, Anthony British sculptor of large, abstract steel creations Caroline, J.

Louis Blues Carpenter, Scott 2nd US astronaut in orbit Carr, Charles Drove country music legend Hank Williams on his last trip Carr, Johnnie Prominent civil rights activist over the past half century Carr, Sam Mississippi Delta musician was one of the best blues drummers in the country Carrell, Mike Washington state senator Carrillo Fernandez, Simon Adrian Carrington, Leonora Painter, writer and sculptor considered one of the last of the original surrealists Carson, Joanne Ex-wife of former 'Tonight Show' host Carson, Julia Seven-term Indianapolis Representative Carter, Beverly Realtor who disappeared last week Carter, Don Bowling great during the golden age of the game Carter, Elliott Pulitzer Prize winning classical composer Carter, Gary Hall of Fame major league baseball player Carter, Jack Comedian and actor Carter, Janette The last surviving child of country music's founding Carter Family Carter, Nell Who played the stout, sassy housekeeper on the s sitcom "Gimme a Break!

Carter, Robert Lawyer who worked on Brown v. Artist's illustrations graced "The Shadow" and other sci-fi and mystery publications Carvalho, Beth Brazilian "godmother of samba" Casale, Bob Founding guitarist for Devo Casares, Rick Star running back for the Chicago Bears Cash, June Carter Grammy-winning scion of one of country music's pioneering families and wife of Johnny Cash Cashen, Frank Former Mets general manager Cassady, Carolyn Writer and friend of Jack Kerouac Cassese, Antonio Renowned international law expert prosecuted war crimes Castillo, Kendrick Hero ran towards gunman in Colorado school shooting saving lives Castor, Jimmy Funk and soul saxophonist, singer and songwriter Cathey, Reg E.

Truett Chick-fil-A founder Catlett, Elizabeth Sculptor and printmaker Catlin, Kelly U. Cavanaugh, Christine Prolific voice actress Cecil, Henry One of British horse racing's greatest trainers Cellucci, Argeo Paul Former Massachusetts governor Chabrol, Claude French filmmaker was one of the founders of the New Wave movement Chacon, Bobby Former two-time world boxing champion Challis, John Teen inspired professional sports players with his positive attitude about having cancer Chance, Britton Biophysicist was also an Olympic gold medalist sailor Chance, Dean Cy Young-winning pitcher who palled around with Sinatra Chandnois, Lynn s special teams star for the Pittsburgh Steelers Chapin, Billy Actor was popular as a child in the s Chapot, Frank Equestrian won two silver medals in six Olympics Charles, Ray The Grammy-winning crooner who blended gospel and blues Chartoff, Robert "Rocky," "Raging Bull" movie producer Chase, Leah New Orleans chef perfected Creole cuisine Chaykin, Maury Canadian actor whose career spans 35 years and two countries Chedid, Andree Egyptian-born French poet and writer Chepe, Oscar Espinosa Cuban dissident economist Chereau, Patrice Celebrated French actor and director Chernomyrdin, Viktor Served as Russia's prime minister in the turbulent s Chess, Phil Music exec co-founded the legendary Chess Records label Chestnut, J.

First black lawyer in Selma, Alabama, was prominent in civil rights cases Child, Julia Whose warbling, encouraging voice and able hands brought the intricacies of French cuisine Chiluba, Frederick Zambia's first democratically elected president Chisholm, Shirley An advocate for minority rights who became the first black woman elected to Congress Chopra, Yash Bollywood movie mogul Christensen, Todd Professional football player and sportscaster Christian, Linda Hollywood starlet who became the first Bond girl Christopher, Sybil Theater producer and ex-wife of Richard Burton Church Shooting Victims, Charleston Pastor, 8 others fatally shot at church Ciccone, Don Singer-songwriter who was a member of the Four Seasons Cirillo, Nathan Canadian soldier guarding war memorial Claiborne, Liz Fashion designer's styles became a cornerstone of career women's wardrobes Clancy, Gil Boxing trainer who helped lead Emile Griffith to welterweight and middleweight titles Clark, Guy Country singer-songwriter won a Grammy Award Clark, Huguette Montana copper heiress once lived in the largest apartment on Fifth Avenue Clark, Kelly Attorney fought for childhood victims of sexual abuse Clark, Kenneth B.

An educator and psychologist who spent his life working for racial integration Visionary science fiction writer won worldwide acclaim with more than books Clarke, Robert J. Clarke, Ron Australia's greatest middle distance runner Clarke, Warren British actor Clarke, William "Bunny Rugs" Husky-voiced reggae singer Clauson, Bryan Popular dirt track racer Clements, Bill Former Texas governor Clerides, Glafcos Former Cyprus president Cliburn, Van Internationally celebrated pianist helped thaw the Cold War Coachman Davis, Alice First black woman to win Olympic gold Coase, Ronald Oldest Nobel Prize winner Coates, Anne V.

House member in North Carolina Cochran, Johnnie L. Who became a legal superstar after helping clear O. Cockburn, Alexander Longtime columnist for The Nation magazine Cocker, Joe Award winning British singer Coe, George Veteran film and TV character actor Coe-Jones, Dawn Canadian hall of fame golfer Coffey, J. Cogdill, Gail Former Detroit Lions wide receiver Cognito, Ian British comedian died on stage during stand-up routine Cohen, Avi Liverpool defender and first Israeli to play in England''s top soccer league Cohen, Carla Co-owner of popular D.

Cohen, Leonard Legendary singer-songwriter penned "Hallelujah" Cole, George Veteran British actor known best for "Minder" Cole, Natalie Grammy-winning singer Coleman, Jerry Hall of Fame broadcaster Coleman, Ornette Innovative jazz saxophonist and composer Collapse Victims, Mecca Crane More than 65 people killed in crane accident at mosque Colledge, Cecilia Innovative figure skater was the youngest athlete to compete in the Winter Olympics Collier, Jason Atlanta Hawks center Collins, Bud Sportscaster provided decades of tennis commentary on TV Collins, Jerry Former All Blacks rugby player Collins, Marva Innovative Chicago educator Colmes, Alan Radio and TV political talk show host Colvin, Marie Respected American war reporter Commoner, Barry Scientist and one of the pioneers of the environmental movement Como, Perry Crooning baritone barber known for his relaxed vocals, cardigan sweaters and TV specials Compton, Lynn D.

Kennedy's limousine Acclaimed author of twin novels "Mrs. Bridge" and "Mr. Conner, Bruce Beat-era artist made groundbreaking avant-garde films Connors, Mike Actor starred on the detective series "Mannix" Connors, Tom Country-folk singer and one of Canada's biggest cultural icons Conrad, Paul Political cartoonist who won three Pulitzer Prizes Conroy, Pat Best-selling author drew upon rough childhood experience as military brat Cooley, Denton Surgeon performed world's first artificial heart implant Cooley, E.

Cooper, Henry Heavyweight boxer once knocked down Muhammad Ali Cooper, Jackie Won a best actor Oscar nomination at the age of Cope, Myron Screechy-voiced announcer's colorful catch phrases became symbols of the Pittsburgh Steelers Cordice, John W. Surgeon was part of the medical team that saved Martin Luther King Jr Corey, Mary J. First woman to hold the top editorial post at The Baltimore Sun newspaper Corliss, Richard Time magazine longtime film critic Cornelius, Don "Soul Train" creator and longtime host Coryell, Don NFL coach and a founding father of modern passing game Coryell, Larry Jazz guitarist was known as the Godfather of Fusion Jon Corzine Cossette, John Longtime executive producer of the Grammy Awards Cossiga, Francesco Former President of Italy Costanza, Margaret Veteran political activist and women's rights champion Cotton, Dorothy Civil rights pioneer worked alongside the Rev.

Cotton, James Legendary blues harp player won a Grammy in Courreges, Andre French fashion designer and miniskirt pioneer Court, Hazel English actress starred in popular horror movies of the s and '60s Courtenay, Bryce Best-selling Australian author Covey, Joy Former Amazon executive Covey, Stephen R. Covington, Joey Former Jefferson Airplane drummer Cowan, George Manhattan Project scientist Cowden, Gordon W.

Craig Lewis, Joyce Female Philadelphia firefighter dies in house fire Craighead George, Jean Newbery Medal-winning author Cramer, Richard Ben Pulitzer Prize-winning journalist and author Crane, Phil Former Illinois congressman Crash Victims, Colombia Plane 75 people, including many soccer players, are killed Crash Victims, Colorado Van Amtrak train-van collision leaves 5 dead Crash Victims, Flydubai All 62 people onboard the aircraft have died Crash Victims, Georgia Southern Five students killed in multiple vehicle crash Crash Victims, Philly Amtrak Eight dead after train derailed Craven, Wes Iconic film director whose name is synonymous with horror Crenchaw, Milton One of the last original Tuskegee Airmen instructors Crewe, Bob Wrote string of hits for the Four Seasons Crews, Harry Author and cult favorite whose hard and crazy times inspired his brutal tales Croker, C.

Crough, Suzanne "The Partridge Family" child star Crowder, Eddie Spent nearly half a century as U. Crumley, James Crime novelist whose hardened detectives worked cases in dingy Montana bars Cullen, H. Jay Trooper died in helicopter crash at white nationalist rally in Charlottesville.. Cummings, Bart Legendary Australian racehorse trainer Cunningham, Merce Avant-garde dancer and choreographer who revolutionized modern dance Cuomo, Mario Former governor or New York Curran, Jack High school coaching great Curtis, Ann Swimmer won three medals at the Olympic Games Cygan, John Actor played a detective on "The Commish" D'Amico, Cecchi Screenwriter of classic Italian neo-realist films Dahl, Sandy Widow of pilot of United Flight 93 dies Dailey, Janet Romance writer whose books sold more than million copies Daily, Bill Comedic TV sidekick Dal Canton, Bruce Former teacher had a lengthy career as a major league pitcher and coach Dale, Dick "King of the Surf Guitar" Dale Oen, Alexander World champion swimmer from Norway Daley, Maggie Former Chicago first lady Dalla, Lucio Italian singer-songwriter sold millions of records worldwide Daly, Mary Radical feminist theology professor Dana, Bill Famed research test pilot Dana , Paul Indy Racing League driver, and former motorsports journalist Daniels, Paul British magician and entertainer Dankworth, John British jazz composer, saxophonist and band leader Danto, Arthur C.

Groundbreaking art critic Darcel, Denise French-born actress known for vampy roles Dark, Alvin Longtime manager and star shortstop Darling, Jean Child actor in the "Our Gang" comedy film series Davenport, Lee Developed radar that helped U. David, Hal Legendary songwriter partnered with Burt Bacharach Davidson, Bill Detroit Pistons owner and noted philanthropist Davidson, Gordon Film, theater director founded L. Davidson, Michael J. Cardiac surgeon who was fatally shot Davies, Howard Acclaimed British theatre director Davies, John Howard Cherubic child actor became influential British television producer Davis, Ann B.

Actress on "The Brady Bunch" Davis, Jack Champion hurdler won two Olympic silver medals in the s Davis, Jo Ann Virginia's first woman elected to Congress Davis, Kevin J. Member of the Navy Blue Angels died in a crash while performing Davis, Michael Bassist of influential late s rock band MC Davis, Ossie An actor distinguished for roles dealing with racial injustice on stage, screen and in real life Davis, Shaniya 5-year-old had been missing for one week Davis, Steve Former Oklahoma quarterback Dawkins, Darryl NBA player known for his thunderous dunks Dawkins, Jimmy Chicago bluesman Dayan, Assi Iconic Israeli filmmaker Dayton, Bruce Retailer built family's company into what became Target De Laurentiis, Dino Prolific film producer and entrepreneur Dean, Jimmy Country music legend and sausage entrepreneur Dean, Millvina Last survivor of the "unsinkable" Titanic Deaver, Michael Close adviser to Ronald Reagan DeBakey, Michael Cardiovascular surgeon who pioneered heart bypass surgery DeBerry, Lois Longtime Tenn.


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  • The Creatures of Man.
  • The Prodigal Son.

DeBruin, Lynn Associated Press sports writer DeCarava, Roy Photographer who captured Harlem's everyday life DeCrow, Karen Women's rights movement leader Dee, Paul Former University of Miami athletic director Dee, Ruby Beloved actor and civil rights activist Dee, Sandra The blond beauty who attracted a large teen audience in the s Del Pozo, Jesus One of Spain's most influential style modernizers Della Casa, Lisa Opera diva widely acclaimed as one of the finest sopranos of her generation The innovative automaker who left a promising career in Detroit to develop the stainless steel-skinned Delp, Brad Lead singer for the band Boston Demps, Benjamin Former Kansas City school superintendent Denktash, Rauf Former Turkish Cypriot leader Denmark, Leila Oldest practicing physician in the world Dennis, Herman D.

Denver, Bob Whose portrayal of goofy first mate Gilligan on the s television show "Gilligan's Island" made him an iconic figure Derby, Pat 'Flipper,' 'Lassie' trainer-turned-activist Derr, Allen Idaho lawyer won landmark anti-discrimination case Derwinski, Edward First U. Desio, Alfred Broadway veteran invented a form of electronically enhanced tap dancing called Tap-Tronics Dewdney, Anna Best-selling children's author was known for her "Llama Llama" stories Di Stefano, Alfredo Real Madrid soccer great Di Stefano, Giuseppe One of the greatest tenors of the 20th century Dickens, Hazel Folk singer and bluegrass musician who advocated for coal miners Dickens, Jimmy Oldest Opry Member Diddley, Bo Rock 'n' roll innovator inspired with distinctive "shave and a haircut, two bits" rhythm Didlake, Emma A Michigan woman believed to be the nation's oldest veteran Dienstbier, Jiri Czech dissident who helped topple Communist regime Dietrich II, William S.

Steel executive-turned-philanthropist who pledged major gifts to universities Diller, Phyllis Pioneering standup comic Dillon, Denis Former D. DiLorenzo, Francis X. Roman Catholic clergyman served as bishop of Richmond, Virginia, for 13 years Dingell, John Longest-serving Congressman in U. DiPaolo, Frank Political mentor to former U.

Patrick Kennedy Disney, Roy Walt Disney nephew who twice led shareholder revolts Senator of Illinois Dixon, Jessy Gospel singer and songwriter Djerassi, Carl Widely considered the father of the birth control pill Doar, John Notable civil rights lawyer Dobbs, Quail Beloved rodeo clown Dobson, Tamara Tall, stunning model-turned-actress who portrayed Cleopatra Jones Doctorow, E.

The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15) The Prodigal Son (Roger the Chapman Mysteries Book 15)
The Prodigal Son (Roger the Chapman Mysteries Book 15)

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