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Released in this country last year, Pierrot was made in 1965. This is very important because it should be thought of in the context of his earlier films (Breathless, A woman is a Woman, Contempt), which deal with the more traditional themes of the New Wave movement: man's alienation from his past and future, from his immediate environment and the world around him, and from woman and himself...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

...acquisitive conglomerates and breathless corporate mergers, San Francisco's Levi Strauss & Co. is something of an anomaly. It is a privately owned, family-controlled company that has become successful almost entirely by internal expansion. Just how successful became known only last week. Issuing the first public financial report in its 119-year history, the behemoth of blue jeans announced that it earned $12.1 million in 1968 on sales of $196.8 million. That record makes it one of the nation's half-dozen biggest apparel manufacturers...

Author: /time Magazine | Title: Corporations: Levi's Gold Rush | 4/25/1969 | See Source »

...split up and down and sideways; its students are in deep dissension; it Faculty is in quiet, elegant strife; the nation's academe is in a kind of breathless pain; much of America simply does not understand and the whole world is watching...

Author: NO WRITER ATTRIBUTED | Title: World Watches Harvard | 4/17/1969 | See Source »

...example, windy politics fray some of the film's visionary power. But in Pierrot Le Fou Godard shows that he can coax fine actors into superlative performances. Belmondo earns his lunatic (fou) sobriquet; his quirky bantam strut and broken-nosed banter are only a gasp away from Breathless. Karina's sensuality gives her ultimate villainy the quality of revelation...

Author: /time Magazine | Title: Cinema: Wanton Flow | 1/17/1969 | See Source »

...swirl of capes and costumes, balloons and special effects, the Potts come to the rescue, triumphing over twin evils: the baron and the score. Written by Robert and Richard Sherman (Mary Poppins), the eleven songs have all the rich melodic variety of an automobile horn. Persistent syncopation and some breathless choreography partly redeem it, but most of the film's sporadic success is due to Director Ken Hughes's fantasy scenes, which make up in imagination what they lack in technical facility. Next to Tiny Tim's hallowed remark, the holiday season's most overworked phrase...

Author: /time Magazine | Title: New Movies: Chug-Chug, Mug-Mug | 12/27/1968 | See Source »

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