Word: cohn
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Dates: during 1990-1999
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...with his eye on the box office. Letterman does not give a rat's rump for historical truth. Tim Curtiz, a London-based journalist taking a crack at a lucrative script-writing assignment, does. The subject of the movie, called Masai Dreams, is a striking French anthropologist named Claudia Cohn-Casson, whose work among the Masai, and whose fate at the hands of the Nazis, illustrate the collapse of the 20th century's grandest assumptions about reason and scientific objectivity...
Curtiz pieces the Cohn-Casson story together from interviews with people who knew her in the '30s. An old Masai spiritual leader tells of his nephew who may have been Claudia's lover. A former British army officer describes his romance with Cohn-Casson and her return to Paris during the final months of World War II. Why would an intelligent, worldly Jew deliberately return to Hitler's Europe? While Curtiz is pursuing the answer in Kenya and Tanzania, Letterman is busy in Paris checking out every aspect of a celebrated French actress. She turns out to be a transsexual...
...five years in prison for "transmitting a threat across state lines" (electronically) had frightened other online provocateurs and promised to be a test-case for censorship in cyberspace. TIME's Wendy Cole, who has interviewed Baker, says he severely regretted naming the other student in his fiction. Judge Avern Cohn, in his dismissal order today, noted that the government lost enthusiasm for the case "once it recognized that the communication which so much alarmed the University of Michigan officials was only a rather savage and tasteless piece of fiction...
...LONG AGO, HARRY Cohn, the legendary film mogul, found himself contemplating the minuscule grosses of some historical epic set in the 18th century and decreed that henceforth no picture emanating from his studio would feature men in wigs and knee breeches writing with quill pens...
...vulgar wisdom back to mind. Regrettably so, for it is the work of that redoubtable trio consisting of producer Ismail Merchant, director James Ivory and screenwriter Ruth Prawer Jhabvala. With films like Howards End and Remains of the Day, they have, almost alone, kept alive what in Cohn's day was one of Hollywood's more agreeable genres: the handsomely made, well-acted literary-historical drama. These movies reflected the cultural aspirations of producers like Irving Thalberg and David O. Selznick while serving the needs of that portion of the audience not enamored of car chases and tommy-gun fire...