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Word: antifascist (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

DIED. Max Ascoli, 79, educator, author and editor of the Reporter, a distinguished but now defunct fortnightly journal of ideas; in Manhattan. An Italian antiFascist, Ascoli was jailed briefly under Benito Mussolini's regime and immigrated to the U.S. in 1931. The Reporter, which he founded in 1949, ran vigorous stories criticizing the China lobby, McCarthyism and governmental misuse of wiretapping. As staunchly anti-Communist as he was antiFascist, Ascoli supported the growing U.S. involvement in Viet Nam during the '60s, thereby alienating many liberal readers and leading to the demise of his magazine...

Author: /time Magazine | Title: Milestones, Jan. 16, 1978 | 1/16/1978 | See Source »

...version, Alvin Sargent's adaptation and Fred Zinnemann's direction usually retain Hellman's balance. At times, however, the women's deep friendship becomes cloying, subtly but soppily suggesting an adolescent lesbian relationship, an implication Hellman worked to avoid. And in the movie Hellman-and-Julia's admittedly courageous antifascist actions are presented as historically unequalled acts of heroism...

Author: By Joanne L. Kenen, | Title: Technicolor Portraits | 10/15/1977 | See Source »

Redgrave is on the screen less frequently than Fonda but her appearances are memorable. She sensitively captures Julia's evolution from a headstrong stylish socialist to a committed antifascist who sacrifices her life not on impulse but after careful consideration. Hellman's character is relatively more static, and when she risks her life by smuggling funds for Julia's group into Germany-- Hellman is Jewish--we are never sure whether she is acting out of political commitment, love for Julia, or simply because she was afraid to display cowardice by refusing her friend's plea. In fact, if the details...

Author: By Joanne L. Kenen, | Title: Technicolor Portraits | 10/15/1977 | See Source »

...film works up some steam only when it is recounting the central anecdote of the original story, a scary 1937 train ride in which Hellman (Fonda) smuggles $50,000 to Julia (Redgrave) and her antifascist comrades in Berlin. Director Zinnemann (High Noon) brings a Graham Greenesque sense of intrigue to this adventure, and he sets up a powerful climactic scene. When Hellman finally arrives in a smoky Berlin cafe to deliver the loot, her terse, hurried conversation with Julia sums up everything the film has been trying to say about friendship, political commitment and growing up. Simultaneously the two star...

Author: /time Magazine | Title: Cinema: A Convoluted Memoir of the '30s | 10/10/1977 | See Source »

...tenants of a cavernous apartment building who remain at home during the festivities. Antonietta, an ignorant working-class housewife, has stayed behind to clean up the cramped flat she shares with her boorish husband and six kids. Gabriele, a bachelor who is an out-of-work radio announcer and antiFascist, has shut himself in to contemplate his certain confinement by il Duce's henchmen...

Author: /time Magazine | Title: Cinema: Soul of Beauty | 10/3/1977 | See Source »

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