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Mascia analyzes lugubrious Antonio. "Not even our nice new apartment has made you smile," she mourns. True, all too true. The spaniel packs a lunch and entrains for Italy. But the old union is doomed. Giovanna has a lover, a bambino (Carlo Ponti Jr.) and a job sandpapering the rumps of clothing dummies. Henry Mancini's calorific music sounds the knell for Antonio. He gets its message and entrains to Russia, to Mascia and the glorious new housing project where the balalaikas play...

Author: /time Magazine | Title: Cinema: Mamma Mia! That's-a Spicy Meatball! | 10/5/1970 | See Source »

...great Verdi, Ernani does at least offer signs and portents of greatness to come. Its orchestral writing heralds the style of Don Carlo and Aida. It contains a healthy portion of the soaring vocal writing that was made to order for the all-star cast that Bing assembled for the occasion. As Carlo-better known to history as the Emperor Charles V-Sherrill Milnes affirmed his pre-eminent position among American baritones, singing with truly empyreal grace and a voice that opened on many intriguing corridors of power. In a spectacular Met debut in the role of the aging Silva...

Author: /time Magazine | Title: Music: L'Italiana di Harlem | 9/28/1970 | See Source »

Jacques Yves Cousteau, the renowned underwater explorer, has covered 155,000 miles of sea on film-making and oceanographic expeditions during the past 3½-years. Last week in Monte Carlo, he summed up what he had seen in glum, blunt terms: "The oceans are in danger of dying. The pollution is general...

Author: /time Magazine | Title: Environment: The Dying Oceans | 9/28/1970 | See Source »

...subject to appeal. Perhaps, as Mallarme observed, "All thought emits a throw of the dice." Most film makers vainly attempt to have it both ways; Chabrol succeeds. This Man Must Die is as full of intelligence as a seminar and as suspenseful as a series of passes at Monte Carlo...

Author: /time Magazine | Title: Cinema: Salaud Days | 9/7/1970 | See Source »

Bellocchio has compiled a sourcebook of bourgeois shennanigans and ideological muddles that illuminate the inextricable unity of personal and political consciousness. When Carlo in an opening sequence says he can't love because he is aware there are classes with better material conditions for love, he is at once rationalizing his callousness and ambition and justifying a revolution that might free him from himself...

Author: By Robert Crosby, | Title: At Emerson 105 China is Near | 7/31/1970 | See Source »

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