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What exactly is the national security, and how much invasion of privacy can be justified in its behalf? How much secrecy is really necessary? The difficult debate over individual rights v. the common good dates from the earliest days of the republic. Still, the fact that most of the fights over repression, loyalty oaths and the stifling of dissent are so long forgotten is an indication that in most cases the tumult was out of all proportion to the mouse that squeaked defiance...
...could such pervasive corruption of ethics start in an Administration of such seemingly square-shooting disciples of law and order? Some of Nixon's critics contend that he set the general pattern in the earliest stages of his political career, when he used some questionable tactics. More important, the closeness of Nixon's first two presidential campaigns, against John Kennedy in 1960 and Hubert Humphrey in 1968, bred an almost paranoid insecurity among Nixon's campaign workers. The slim win over Humphrey was a special shock...
Hiroshima Mon Amour. One of the earliest and most important films of the French New Wave. Alain Resnais's film begins with a French actress who falls in love with a Japanese architect in Hiroshima. The associations of love and war provoke a dislocation of memory and time. Emmanuele Riva brings forth a tremendous range of emotion, which is very evocative even on a first viewing, before subtle complexities begin to fall into place...
...Broadway hit of the 1930s, The Women was one of the earliest Women's Liberation plays in the U.S. After countless performances throughout the world, The Women returns to Broadway this week. TIME Associate Editor Gerald Clarke talked with its author, Clare Boothe Luce...
...PAINT a picture like this required Olitski to paint his way through years of difficulty. The earliest paintings included in the show are a whole room full of small works which look like abstract expressionist paintings, but were executed by building up the surface as much as three inches with spackle. The effect is that of stale cake frosting, limited to three colors -- charcoal, sickly pink, and dirty white -- knifed or squeezed onto the canvas. The paintings suggest parody of the rough, sculptural brush work of De Kooning, at the same time evidencing an interest in the ease with which...