Word: amours
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Dates: during 1960-1969
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...based not on French ports but on Antwerp, Rotterdam and Hamburg. And though it would cost at least $700 million, the U.S. could move most of its facilities in France to the Low Countries and West Germany. To the U.S., it seemed a sizable sum to charge for amour-propre. But not to De Gaulle. As an atomic power, he said, France has world responsibilities. "France desires to handle these responsibilities herself. This desire is incompatible with the organization of defense under which she is now subordinated...
...third dominatic figure in the New Wave, Alain Resnais, has explored the possibility of entirely plotless films. His Hiroshima Mon Amour treated time and memory in the same evocative manner with which Faulkner treats them. Hiroshima included a large amount of newsreel footage, a technique also favored by Truffaut, to give yet another impression of time--that between the shooting of the film and an actual event...
...nurse who looks "like a big white Band-Aid," speaks with an antiseptic voice that would intimidate gangrene, and lives a prim life with mother. The dentist (Barry Nelson) holds a master's degree in bachelorhood, and while he appreciates spinsterish efficiency in the office, he turns for amour to a Greenwich Village post-adolescent (Brenda Vaccaro). This child wants to be a bride, but the dentist has lied to her that he has a wife and three children. In distress, the girl turns on the gas oven, and the suicide attempt, foiled by a friendly neighbor (Burt Brincker...
...studied the "ex-teriorist" novels of Alain Robbe-Grillet and Nathalie Sarraute and learned to create characters that are all skin and no insides. She tried her hand at avantgarde drama and learned to produce dialogue so obscure it passes for profound. She wrote several scripts (Hiroshima, Man Amour, Moderate Cantabile) for the French New Wave directors and learned to compose prose that reads like camera directions-possibly economical, certainly cheap. All these skills are brought relentlessly to bear in this collection of four short novels that profess to describe four different "modes" of love. They were received with grave...
...France's Charles Aznavour it is the transiency of love that hurts. L'amour c'est comme un jour-it dawns, it dies. C'est fini, he cries, with desolate finality. You've Let Yourself Go is an unsparing plaint of conjugal disenchantment. Aznavour has none of the rakish charm of Maurice Chevalier, the ebullient high spirits of Charles Trenet, or the blatant sex appeal of Yves Montand. But he has two qualities that none of them possess with the same intensity-fire and sorrow. He was trained by Edith Piaf, and if one closes...