Word: directorate
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Dates: during 1960-1969
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...lives," says a friend, "in constant motion"-careening around freeways in his green 3.8 Jaguar sedan, hobnobbing with such Hollywood types as Edward G. Robinson and Director Vincente Minnelli, fencing with Film Composer Bronislau Kaper ("Not much control," says Kaper, "but great imagination and aggressiveness"), digging jazz at Drummer Shelly Manne's club, singing all the parts in impromptu living-room opera performances with such musical friends as Ivry Gitlis and Pianist Daniel
Neiman-Marcus is one of the first retailers to take such a step in the area of buying practices, and civil rights groups responded approvingly. "The announcement will have a salutary effect," said John A. Morsell, assistant executive director of the N.A.A.C.P. "Assuring equal employment opportunity cannot be made the exclusive business of government, and one would think that businessmen would insist upon a major role for business also." Some retailers were less enthusiastic. "This type of action should not fall into the private sector," said Martin B. Kohn, chairman of Baltimore's Hochschild, Kohn & Co. and president...
...wear. British European Airways put on extra flights, and Air France switched from 90-seat Caravelles to 180-seat Boeing 707 jets to help carry the bargain hunters. Harrods, the elegant Knightsbridge store, experienced a run on "everything English"-Liberty prints, fabrics, scarves, china and glass. Said Managing Director Alfred Spence: "We have known nothing like it in 50 years. Sales...
...viewer is more likely to be caught between boredom and sleep. Director Rolf Thiele seems to have been trying to make like Ingmar Bergman, with his period costumes, penumbral lighting, and self-conscious composition of every frame. But style is no substitute for substance. Most of what made the original story compelling-Tonio's long, self-probing speeches to Lisaveta and his conception of the writing man as both artist and bourgeois, free spirit and square-has been so compressed and truncated that it is lost in the snail's-pace atmosphere of the film. The result, unfortunately...
...problem goes deeper than Nichols' consistent substitution of trickiness for style. A great director, Rosselini or Hitchcock, plans his film as a totality, understanding instinctively how each shot relates to the film as a whole; a competent director of narrative films like Michael Curtiz (Casablanca) plans shots with relation to the entire scene. Nichols, however, cannot plan past a given shot, and although a frame may contain an effective gimmick, camera angle, or background detail, the scenes themselves are purposeless and disconnected, largely due to awkward and self-conscious editing...