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We review the facts found by the judge on the motion to suppress to the extent necessary to our disposition of this appeal. On February 20, 1976, about 1:57 P.M. the branch office of The First National Bank of Boston, at Government Center, was the subject of an attempted armed robbery by two white males wearing wigs and sunglasses. One of the robbers accosted the bank guard and shot him twice in the chest. The other robber, also armed and carrying a shopping bag, vaulted over the counter into the tellers' area, dropped his gun, retrieved it, and after a few seconds jumped back over the counter without taking any money. Both robbers fled on foot. A shopping bag containing gold-rimmed eyeglasses was found behind a column a short distance from the bank.
Debra Mark (Mark) was on duty as a teller at the bank at the time of the robbery attempt. She testified at the hearing on the motion to suppress that she observed the second robber (referred to by the police as "the vaulter") for three to four seconds as he ran toward her, and for an additional nine to fourteen seconds while he was behind the counter, within two feet of her. During this time she was "extremely scared and nervous."
Within a day or two after the incident she further described the "vaulter" to an F.B.I. agent as a white male in his early twenties, no taller than five feet eight inches, with fair eyebrows, a light complexion and "standard features," wearing blue pants, shoes (not sneakers) and sunglasses that kept sliding off his face, and carrying a gun in his right hand.
She subsequently described the person to a different F.B.I. agent as a "white male, early twenties, approximately five foot six inches to five foot seven inches, husky but not fat, light complexion, light brown curly hair, might have worn a wig, sunglasses, blue jacket and blue pants, good teeth, needed a shave."
Mitchell Fischman (Fischman), a customer in the bank when the incident occurred, heard a shot and immediately crouched down where he stood near a customer counter at the far end of the bank lobby. He saw the "vaulter" run toward the tellers' windows, leap through one, and then leap back out and run toward the door. He observed the vaulter from the rear as the latter approached the windows and from the side as he left, and saw him in all for a total of about six seconds. He was then unable to tell with certainty whether the person he saw was male or female, but he obtained a general "impression of the face." He later described the person as a white male in his early twenties, with a thin, elongated face, possibly dark hair, and wearing a dark jacket. Neither Mark nor Fischman had viewed the robber who had fired the shots.
The first lineup consisted of six males, including Ulatowski and persons who resembled him. The second lineup, also of six males, included the defendant as standee number five (a position requested by defendant's counsel), and five others more or less resembling him. The standees could not see the witnesses, who were separated from them by a two-way mirror.
2. Viewing of the first (Boston police) array. When she viewed the three books of photos of the Boston police, Mark was extremely emotional, and cried continually, due to the impact of the recent crime. Although the remark of the detective that she should look carefully because robbers often wore disguises, and his action in pointing to the two pictures of the defendant as an example, contained "some suggestiveness," the two pictures were sufficiently dissimilar as not to focus Mark specifically on the defendant. The comment was made in good faith by the detective as general advice, and he was not attempting to accentuate the defendant
The suggestive procedures alleged with respect to the Fischman identification are the same as the above, with the exceptions that he was shown pictures of the defendant three times during the week after the robbery attempt, not seven, and was not shown the suggestive array prepared by the bank security officer, and with the addition that to show Fischman a lineup of only males may be considered suggestive because he originally had expressed some doubt whether the person he saw was male or female.
The suggestive procedures, it is argued, even more compellingly require the suppression of the identifications when considered in light of the relatively brief glimpse which each witness had of the vaulter, and the extremely long time, some sixteen months, which elapsed between the time of the crime and the lineup at which the witnesses identified the defendant for the first time.
This is a power-bargain struck in the face of blondeness's equally vibrant negative associations. Now, as in centuries past, sexual power all too easily devolves into whorishness and pornography; the cherubic and divine into the impish and demonic; fun into empty frivolity; style into artifice. Blondeness corrupts and corrodes, and the femme fatale of novel and film knows it well, as she so carefully treads its fine lines. Marlene Dietrich smiles knowingly, struts, wags her finger, and sings: "Nimm dich in Acht vor blonden Frau'n, sie haben so etwas Gewisses!";1 Philip Marlowe whispers reverently of the blonde, the bishop, and the hole in the stained-glass window.2
Wherever it stems from, operatic blondeness has an inevitably invigorating effect. Hair is "worn," we say, which is as much to confirm that it is a part of costume, as telling as any kimono or codpiece. In response to the blonde detail seen onstage, our hermeneutic faculties light up, searching for connections with other details and with meanings that might otherwise remain unsung. Hair color or style, of course, may simply be the result of a director's recognition of the need to pick out one similar-looking character from another. Opera, true to its partial...
In Front of Your Face offers insights about appreciating life in the presence of death that are new and more optimistic assertions for a filmmaker who represents typically male characters at their most desperate.
The Mother does not know how to be one of these other mothers, with their blond hair and sweatpants and sneakers and determined pleasantness. She does not think that she can be anything similar. She does not feel remotely like them. She knows, for instance, too many people in Greenwich Village. She mail-orders oysters and tiramisu from a shop in SoHo. She is close friends with four actual homosexuals. Her husband is asking her to Take Notes.
Suddenly, from down near the Tiny Tim Lounge, comes Ned's mother, large and blond and sweatpanted. "Stop that! Stop it!" she cries out, dashing toward the Baby and Ned and pushing the Baby away. "Don't touch that!" she barks at the Baby, who is only a Baby and bursts into tears because he has never been yelled at like this before. 041b061a72