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What is better than What is better than owing $64 million? Well, owing only $20 million-as, now, does Lammot du Pont ("Motsey") Copeland Jr., a great-great-great -grandson of the founder of the Du Pont dynasty. Climaxing one of history's largest personal bankruptcy actions, his overworked platoon of Wilmington lawyers settled with a creditors' committee, whittling down his debt from a series of misbegotten enterprises...
...from trusts, to less than $2 million, from about $26 million. He was forced in the agreement, for example, to put his $500,000 Wilmington mansion up for sale. And settlement could well have been prolonged even further had not the Copeland family-notably Lammot Sr., former chairman of Du Pont-agreed to withdraw some $3.6 million in family claims...
...people in the nearby Riviera town of Roquebrune-Cap-Martin, the cavern is known as Le Trou du Tachou (the Badger's Hole). Hidden away on a Mediterranean hillside covered with olive trees and scrub oak, it was discovered in 1962 by a little girl looking for shiny stones for her collection. What subsequent explorers of the 16-ft. by 16-ft. grotto have found promises to be a great deal more significant: the habitat of the earliest known manlike creatures ever to dwell in Europe...
That's the big problem: that the film finally has too little faith in its own second sight and comes up with a real, plot-line explanation that is not spiritual but superstitious. That's really the fault of the Daphne du Maurier story from which the film is taken, but it's all the more disturbing because it reminds us how big the gap is between the best film technique and the best film content, a desert where the best technical directors--Bertolucci or Stanley Kubrick--have often gotten caught with nothing to say, needing direction themselves. I just...
Last week, I began a plug for Nicholas Roeg's Don't Look Now, which is playing first-run in Boston, but it was cut short for lack of space. This film takes a simple Daphne du Maurier story and raises it above its original status as a thriller, achieving a level of visual drama rarely encountered in any film. This is a film of exceedingly dramatic imagery and psychological complexity. The story line is, at times, almost non-verbal, because the dialogue is scant and simple and because the images are photographed and edited with such finesse that most...