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Word: amours (lookup in dictionary) (lookup stats)
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Neil Simon decides to give a married middle-aged restaurateur a fling or three. Amour: kaput. Laughter: rampant...

Author: /time Magazine | Title: Show Business: Year's Best Plays | 1/4/1971 | See Source »

...having its U.S. premiere at New Haven's Long Wharf Theater. Another tentative meaning might be that life is a mystery on a scale that reduces the solution of a murder to the pettiest of puzzles. Since Marguerite Duras is a French novelist and a scenarist (Hiroshima, Mon Amour), still another specifically Gallic meaning to be drawn from her play is that the heart has its reasons that reason knows...

Author: /time Magazine | Title: Theater: The Heart Is a Peopled Wound | 12/14/1970 | See Source »

...sort of operational dialectic, using the science of probability to calculate his freedom within the limits of determined facts, and using moral transgressions, i.e., sex (also within limits) to better his sense of judgment ("women always raise my moral standards"), For him a personal cosmology, self-respect ( amour-propre ), and a clear conscience mean everything...

Author: By Jim Crawford, | Title: Film Ma Nuit Chez Maud at the Orson Welles beginning tonight | 11/4/1970 | See Source »

...Hiroshima, Mon Amour and L'Annee Derniere a Marienbad, Alain Resnais began his explorations of time and space dislocation. His newest film, Je T'Aime, Je T'Aime, is precisely about that dislocation. A man enters a time-machine which looks like a high-school biology model of the human brain: scientists have told him that he will re-live exactly one minute of his life, at a point exactly a year ago. The machine goes berserk, and what follows is a visual montage of the man's past. Time barriers are simply not observed, and jumps from one sequence...

Author: By Martin H. Kaplan, | Title: The New York Film Festival Twelve Nights in a Dark Room: You Can't Always Get What You Want | 9/29/1970 | See Source »

...Aime, Je T'Aime is a frosty movie about love, life and time travel directed by Alain Resnais. In Hiroshima Mon Amour and Last Year at Marienbad, Resnais evolved an elliptical style of editing that included streams of consciousness, unconsciousness and dreams, all edited so tightly that the audience had to shift rapidly between tenses and dimensions. This technique made his films intellectual teasers, but it also tended to weaken the rather fragile narrative line. The scenario of Je T'Aime has been almost completely overwhelmed. It was supposed to be a kind of comic-strip fantasy about...

Author: /time Magazine | Title: Cinema: Festivals | 9/21/1970 | See Source »

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