Word: deal
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Dates: during 1960-1969
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...doubt it. More likely, Juan Carlos became convinced that only Franco could put a King back on Spain's throne; the Prince feared that after Franco's death antimonarchists in the government would block any such move. Since he knew that his father would never make a deal with Franco, who is in only moderately good health, Juan Carlos decided to go ahead and secure the throne for a Borbon before it was too late. When he is formally crowned, perhaps by Franco, Juan Carlos will take the title that his father intended to use: King Juan...
Harmonious Sex Life. In Doniger's view, a fight over a banking empire run by a family patriarch (Ralph Bellamy) would not keep TV viewers tuned in for very long. So he decided instead "to deal not with the abstracts of wealth but rather with the emotional problems of rich people. Our stories will be about human beings faced with all kinds of swirling emotional forces, told against an enormous backdrop, but with the same kind of problems as you and I." Translation: kink...
Died. Hallie Flanagan Davis, 78, director from 1935 to 1939 of the New Deal's WPA Theater Project; of Parkinson's disease; in Old Tappan, N.J. Unemployment was skyrocketing in the Depression-bound U.S. theater when Mrs. Davis, who founded Vassar College's Experimental Theater, was asked to help the show go on. She established theaters in 40 cities across the country, opened up jobs for some 13,000 actors, directors and theater workers, and helped introduce such playwrights as Christopher Marlowe, Maxwell Anderson and Clifford Odets...
SDRs will be allocated to the IMF members in proportion to their quotas in the fund. The chief beneficiaries will be the U.S. and Britain. Under the deal reached in Paris, $3.5 billion in SDRs will be issued next year. More than $700 million will go to the U.S. An additional $3 billion will be issued in each of the succeeding two years. That is not quite as much as the U.S. hoped for as a start, but it is more than Continental nations wanted...
...shots of the billboards that blister the countryside of Brazil, shouting "Texaco" "Ford" "Esso" at the passing cars. But this is rather small accomplishment; it's all there, as obvious as a Wheaties box. Tropici is betrayed by Amico's failure to integrate his narrative and documentary concerns, to deal with them not in isolation but in interaction. This failure gives his statement on foreign exploitation the ring of a superficial overview, rendering it less forceful, less immediate and real. The few times he manages to bring both elements into focus at once are the film's high points...