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...Robert Altman's Short Cuts -- one of the season's most widely anticipated films -- opens with shots of helicopters, photographed so they look like giant bugs as they roar across the night skies, doing battle with a little bug, the Medfly, terror of the California fruit industry. This periodic chemical warfare, in which insecticides are noisily laid down across entire neighborhoods, is one of the minor, faintly comic annoyances of Los Angeles life. All that technology; such a humble and primitive...

Author: /time Magazine | Title: The Heart of American Darkness | 10/4/1993 | See Source »

Whether the film, which has the prestigious opening-night slot at the New York Film Festival this Friday, achieves its highest aims is likely to prove hotly debatable as it rolls slowly into theaters during the fall. L.A. is, after all, the world's easiest satirical target. Moreover, Altman and co- screenwriter Frank Barhydt are adapting -- freely commingling is a better description -- short stories by the late Raymond Carver. These have quite a different bleakness about them and are, anyway, resistant to the implicit cultural generalizations the movie tries to impose on them. Carver was content to capture discrete moments...

Author: /time Magazine | Title: The Heart of American Darkness | 10/4/1993 | See Source »

...Daniel Altman '96 is a Crimson editor. His column will appear every other Monday...

Author: By Daniel Altman, | Title: Stagnation Without Representation | 9/27/1993 | See Source »

...same time, Clinton's proposed cuts in Medicare and Medicaid are drawing fire from liberals. And some health experts think Clinton may be going too far. "No one can tell you with any assurance that these levels of cuts will not affect patients," says Stuart Altman, an economist at Brandeis University...

Author: /time Magazine | Title: Ready to Operate | 9/20/1993 | See Source »

...from Wilshire Boulevard or his chronic breaches of etiquette. Rather, says a friend, "Sam was the king of artistic seriouness," and the appetite for serious films -- dark and downbeat, reeking of alienation -- is not what it was. In 1993, would studios green-light Lumet's Equus, Allen's Interiors, Altman's Quintet or Nichols' Carnal Knowledge? Cohn was a power broker during the decade or two when every movie director was by definition an untouchable auteur. Nowadays even true auteurs such as Scorsese are kept on rather short leashes, indulged their expensive artistic visions not much beyond...

Author: /time Magazine | Title: Requiem for A Heavyweight | 9/6/1993 | See Source »

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