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...fact, Hanoi sounds, if possible, more arrogantly intransigent than ever. North Viet Nam's government last week made a special point of deriding as "fabricated legend" the breathless U.S. press reports of last month that Hanoi had offered to begin peace talks in late 1964. The Communists' fanatical belief that they will conquer South Viet Nam found expression in the weirdly convoluted Newspeak used by the North Vietnamese regime to defend its aggression: "The whole world, including the American people, now are stirringly supporting the patriotic struggle of the South Vietnamese people. Why, then, have the people...

Author: /time Magazine | Title: The Presidency: Waiting for Lyndon | 12/17/1965 | See Source »

...preparing his major pronouncements, Charles de Gaulle relies on two basic ingredients:history and mystery. Both were evident in his choice last week of Thursday, Nov. 4, as the moment to make his presidential intentions known to a presumably breathless world. The mystery part was a bit thin (few observers doubt that De Gaulle will run for a second term), but the history was laid on thick. Nov. 4 is the feast day of St. Charles Borromeo (1538-84), an Italian cardinal and church reformer possessed of a Gaullist profile, an imperious manner, and a bent for catechizing. Moreover...

Author: /time Magazine | Title: Western Europe: A NATO Without France? | 11/5/1965 | See Source »

...have failed to mention two of the film's outstanding accomplishments: the luminous, plastic photography of Raoul Coutard. Godard's cameraman on his ten films, beginning with Breathless (1961); and the score, which owes its beauty to Beethoven's string quarters and its effectiveness to Godard's superb timing. I've also omitted the film's verbalism. Signs and the printed word play a key part in most Godard films, from the Bogart poster of Breathless to the flashing neon lights of Alphaville, and they crop up again and again in The Married Woman. But why they are used...

Author: By Martin S. Levine, | Title: The Married Woman | 10/28/1965 | See Source »

Jean-Luc Godard (Breathless, Contempt), presently riding the crest of the New Wave, began the festival with his most recent film, Alphaville. His hero, Lemmy Caution, is a cross between Dick Tracy and Flash Gordon, spiced with a touch of Humphrey Bogart. (At one point we catch Caution reading The Big Sleep.) Godard lets his imagination run wild as his comic-strip hero battles the computer-king of a super-mechanized science fiction city. Neon signs flash mathematical formulas across the screen, and the computer growls instructions from what looks like a CBS recording studio...

Author: By Daniel J. Singal, | Title: New York Film Festival: Hits and Misses | 10/7/1965 | See Source »

...Married Woman is the work of Jean-Luc Godard, who shook up the movie world five years ago with Breathless, and has made eight far-out features since−notably My Life to Live and A Woman Is a Woman. In this, as in most of his other films, he exhibits an irresistible weakness for obtrusion, visual puns, inside jokes and all sorts of self-indulgent photographic whimsies, such as irrelevantly shooting a sequence at a 90° tilt...

Author: /time Magazine | Title: Cinema: That Old Feeling | 8/27/1965 | See Source »

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