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...modernist spirit that is still not fully known about. This was partly due to the cold war. The main reason, however, was repression inside the Soviet Union. The work of artists like Alexander Rodchenko, El Lissitzky, Lyubov Popova, Natalya Goncharova, Mikhail Larionov, Vladimir Tallin, Kasimir Malevich, Natan Altman, Naum Gabo and scores of others was a collectively ecstatic response to the possibilities of a new world, the Utopia that Lenin called "Marx plus electricity." It was international in range, drawing on the resources of the new movements in Italy and France-futurism and cubism-which the Soviet artists absorbed with...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

...U.S.S.R. the greatest industrial metaphor in the world, was a euphoric paean to the marriage of "objective" material-girders and glass-with dialectics The idea of a necessary link between the nature of modern art and the aims of socialism was everywhere. "Each part of a futurist picture," Natan Altman argued, "acquires meaning only through the interaction of all the other parts"; its task was not to depict, but to explain dialectical relationships. Illegible in themselves, the fragments of form live "a collective life," like the faces in "a proletarian procession...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

...Perfect Couple Is Robert Altman's 14th film in nine years, his second so far in 1979. He needs to slow down. Although his new movie is easier to take than the last, the ridiculous Quintet, it is still a rushed and tired work. A Perfect Couple does boast a superficial resemblance to Altman's best social comedies, like The Long Goodbye and Nashville, but it has about one-third the energy. The jokes don't fly, the actors don't sparkle, the craftsmanship doesn't dazzle. Altman is merely going through the motions, with...

Author: /time Magazine | Title: Cinema: Doodles | 4/9/1979 | See Source »

...heart Couple is but a cloying romantic comedy, partially camouflaged by characteristic Altman flourishes. The pair are Alex (Paul Dooley) and Sheila (Marta Heflin), lonely souls who meet via a video dating service. It is not love at first sight. Alex is a middle-aged classical music fan who is still under the thumb of his large, oppressively patriarchal Greek family. Sheila is younger, a rock singer, and lives with ambisexual fellow band members in a loft commune. When Sheila explains to Alex that her loft is located in the Little Tokyo section of Los Angeles, he replies, "All those...

Author: /time Magazine | Title: Cinema: Doodles | 4/9/1979 | See Source »

...outrageous broad strokes that the credibility of the couple's supposedly sincere romance is under mined. There are a few funny peripheral moments, especially those that focus on the mores of video dating, but there are also stale gags about wayward cars and coitus interruptus. In this context, Altman's allusions to his better films are particularly depressing. Like Nashville, A Perfect Couple features a climactic death, weird minor characters who traipse mysteriously through the action, as well as a lengthy musical score, sung by Sheila's rock group. There are even moments when Heflin starts...

Author: /time Magazine | Title: Cinema: Doodles | 4/9/1979 | See Source »

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