Word: clara
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Dates: during 1970-1979
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...They went first to a milking station, where Castro expounded knowledgeably on cattle stock and breeding. He popped in for ice-cream cones for the entourage at a dairy station, announcing expansively: 'They're at government expense.' Then he led everybody into the Santa Clara Rum Co. warehouse, and supervised the sampling of 100-proof rum. McGovern barely sipped the stuff and puckered up. 'Don't light a match,' cautioned Fidel cheerfully. 'The place will blow...
...relays gave the 'Cliffe its final markers of the day, with third place finishes in both the 440 relay and the medley. The foursome of Clara Tatrallyay, Michcle Holmes, Cynthia Young and Diana Gilligan snapped the 440 tape in 63 seconds, and Roxane Sismanidis teamed with Holmes, Bourgois and Campbell to finish the medley in a 2:14 clocking...
SUCH AN EXERCISE in grand tragedy is difficult to take seriously, however, when none of the characters avoids two-dimensional typicality. Clara, particularly, as the martyred Working Woman, displays ludicrous malleability in her metamorphosis from Cinderella to Princess at the caprice of the plot. All the romantic music, charming mountain cafes, melting glances and scenic forest idylls De Sica produces cannot lend authenticity to this melodrama, so that the inevitable denouncement is devoid of pathos...
...example of liberation for working-class women. Clara's change in consciousness is hopelessly ambiguous. On the one hand. Clara has realized clearly how she has been victimized and dehumanized at home in Milan: on the other her new perspective depends not on a fresh understanding forged through her own efforts, but on a stroke of fortune that momentarily allows her to escape the prison of her class. Not only is her enthusiastic reception by the wealthy women at the sanitorium and her effortless shift of identity unrealistic, but there is no more substantial self- awareness in her new personality...
...INTERESTING ASPECT of Clara's metamorphosis, and indeed of the whole fantasy of escape into aristocratic elegance which comprises the central theme of the film, is that this is precisely the sort of ambivalent and delusory self-consciousness we might expect a woman in her situation to have: the easiest exit from the drudgery and stark misery of factory and tenement is assimilation into the elite through physical beauty and seductive charm, as the heroines of mass culture from Cinderella to Marilyn Monroe have discovered. Had De Sica treated the contradictions in Clara's self-awareness with the sardonic tone...