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...winners Midnight Express, Chariots of Fire and The Killing Fields. In 1986 English producer David Puttnam took over Columbia Pictures, vowing to make better films more cheaply and with less reliance on big-name stars. Following that formula, Puttnam put the Columbia name on such films as The Last Emperor, which won the Academy Award for Best Picture of 1987. But in his pursuit of reform, Puttnam alienated much of the Hollywood establishment. A year after he was hired, Puttnam left Columbia. Now home in Wiltshire, he is independently producing a series of movies. Bruised but unrepentant, Puttnam still wants...

Author: /time Magazine | Title: Interview with DAVID PUTTNAM: A Man Who Hates Rambo | 5/1/1989 | See Source »

...white dinner jackets with black bow-ties, she frets over the success of her ball club and sips a cool drink. She exudes the air of either a colonial plantation owner, who cannot squeeze any more productivity out of the slaves who are cultivating the fields, or a Roman emperor who condescendingly passes judgment over her subjects at a gladiator's match...

Author: By Seth A. Gitell, | Title: Taking a Swing at the Movies | 4/29/1989 | See Source »

...constant stream of fresh disclosures, overshadowed only briefly by the death and funeral of Emperor Hirohito, has proved costly for Takeshita. Last week the popularity rating of the Takeshita Cabinet hovered around 10%, a postwar low. The Prime Minister's fall from public grace comes only partly from outrage over Recruit. The Japanese also bitterly resent a new 3% national consumption tax, part of a reform package that will eventually reduce taxes. In several recent local elections, these issues have badly hurt the L.D.P., which has been in power continuously since the party's formation in 1955. No less partisan...

Author: /time Magazine | Title: Japan A Scandal That Will Not Die | 4/24/1989 | See Source »

This extraordinary history of the French Revolution begins with a three- story-high plaster elephant standing guard in the Place de la Bastille. Commissioned by the triumphant Emperor Napoleon, eventually to be recast in the bronze of captured cannons, the elephant was designed to make Parisians forget their revolutionary past and dream of an imperial future. Its real destiny -- like the question of what to remember -- proved quite different. "By 1830, when revolution revisited Paris, the elephant was in an advanced state of decomposition," writes Harvard historian Simon Schama. "One tusk had dropped off, and the other was reduced...

Author: /time Magazine | Title: Books: The Rhythm of Retribution | 4/17/1989 | See Source »

Many of the pieces on display portray the splendor and glory of the reign of Suleyman I (1520-1566). The collection presents portraits of the emperor as he was perceived by resident European artists in the Turkish court. An anonymous Italian woodcutting shows the ruler's strong profile, adorned by an incredibly ornate hat. Next to the Italian woodcutting are several engravings by the German artist Melchior Lorichs, who lived in the Ottoman court. Like the Italian piece, Lorichs' works show the monarch surrounded by temporal and religious glory. He appears to be grim and strong-willed; in "Suleyman...

Author: By Katherine E. Bliss, | Title: East Meets West | 4/7/1989 | See Source »

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