Word: directorate
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Dates: during 1960-1969
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...director Fellini has always played with ideas and people and, like most gamblers, he wins a few, loses a few. The loser among the Notebook sketches was a stagy, tasteless mock interview with Marcello Mastroianni. Among the winners was a night ride on the Roman subway, which may still be under construction in the 21st century - archaeologists hold up the work each time the tunnel runs into ancient finds. As Fellini's train sped through the tunnel, the stations gradually filled up with Roman slaves, Senators, and soldiers...
...revival, says La Scala's Co-Artistic Director Bindo Missiroli, has all "the nobility of an epic religious poem." Schippers himself regards The Siege of Corinth as "the most inventive opera Rossini ever wrote." Hard-to-please Milanese opera buffs are paying the ultimate compliment to the Michigan-born maestro: they say that it is really the work of a new composer named Rossini-Schippers...
Alas, new airports produce as much resistance as relief. Most people would rather have an ABM site in their backyard than the constant thunder and stench of a big jetport. Austin Tobin, executive director of the Port of New York Authority, has fought for a fourth New York jetport for almost ten years. "Can we balance the rights of the many against the rights of the few?" he asks. So far, minority rule has won the day, but now something must give...
...disappointed consumer advocates by not naming Republican Mary Gardiner Jones, the leading consumer champion on the FTC, to replace Democrat Paul Rand Dixon as chairman. Last week, however, Nixon chose a new consumer assistant, and the reaction was almost entirely favorable. He picked Mrs. Virginia Knauer, 54, director of Pennsylvania's Bureau of Consumer Protection. A Republican stalwart, Mrs. Knauer probably could do without her new $28,000-a-year salary. She and her husband, Attorney Wilhelm Knauer, 75, live in a large 19th century house with two servants-though she does her own shopping...
That intelligence can seldom shine through the film. Director Karel Reisz (Morgan!) has found an appropriately Proustian mode in which to tell the story, pouring time forward and then reversing it, like the sand in an hour glass. But he places Isadora, the first natural dancer, on a background of numbing artificiality and casts her opposite a series of unconvincing poseurs and popinjays. The baroque scenario -radically cut from 170 to 131 minutes -is florid without being literate, essentially true to the events, but essentially false to the tragicomic character who made them happen...