![]() ![]() Interviews for this nationally representative survey were conducted face-to-face under the direction of RTI International from Nov. The survey also included several questions on gender roles in Indian society, but these questions were not analyzed in the previous report and are now being published for the first time. Many findings from the survey in India were previously published in “ Religion in India: Tolerance and Segregation,” which looked in detail at religious and national identity, religious beliefs and practices, and attitudes among religious communities. For this report, we surveyed 29,999 Indian adults (including 22,975 Hindus, 3,336 Muslims, 1,782 Sikhs, 1,011 Christians, 719 Buddhists, 109 Jains and 67 respondents who belong to another religion or are religiously unaffiliated). But the idea hangs around uncomfortably in this unusual film noir, when her full story is told - with the corollary it implies, that looking innocent is as good as being innocent, so long as you're white.This study is part of Pew Research Center’s most comprehensive, in-depth exploration of India to date. When the fated Fantasia says to her brother, 'Looking guilty's being guilty for black people, you know that,' it happens to be a lie in her particular case, a means to an end. Still, Franklin seizes the opportunity to make a film that tightly binds up any political concerns it may have into the plot. There's a sudden flurry of brooding low camera angles, and the sort of shot of an old man playing harmonica in the road that normally means an advertisement for beer or jeans is underway. There have already been ominous animal-type noises aplenty on the soundtrack - rattlesnakes, feral chuckling - before the whip-poor- will starts its song, cue for someone to mention the superstition that these liquid syllables herald a death. Franklin has a considerable career behind him as an actor, and gets fine performances from his cast, but he rather overdoes the film noir props towards the end. We'll be hearing again from all of them, though it's fair to say that the directing is rather less sure-footed than the script. The director, Carl Franklin, has made low budget features for Roger Corman's Concorde films. The screenwriters grew up together in Arkansas, and have been writing scripts for some time, though this is their first to be produced. A situation that might have been contained spins out of control, when one nasal consonant is mistaken for another. But it's been so long since the driver of the car heard a woman addressed as 'ma'am' that he hears 'man' instead, and gets out of the car. You first, ma'am' - referring to Fantasia (Cynda Williams), who plays such a classic film noir role in the film, both the most and the least guilty of all. A state trooper, stopping the killers for no real reason, says, 'Get out of the car. In one scene, the different idioms of city and country actually play a part in triggering violence. He always calls out, 'Keep the change,' but it's only the city boys who are dumb enough to tip. Dale is honest, but only as long as your definition of honesty permits the stealing of candy bars and the consistent underpaying of his bills in the diner. Dale may ask the waitress how her husband is, but when she mentions he's had his gall-bladder out, he says only, 'Good for him'. Small town ways (by which I mean, rednecks you could love) haven't been observed this affectionately since the early films of Jonathan Demme (Citizens Band, for instance), and Paxton plays Dale as if he was Paul Le Mat (Melvin in Melvin and Howard). So far away from the big city and its temptations, there are still innocent reasons for being out at four in the morning - 'Gigging frogs' as it happens - as well as guilty ones. ![]() In Star City, people say 'nigger' without thinking twice about it, but if they swear you know it's about something serious. ![]()
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