Word: en
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Dates: during 1970-1979
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Borg also beat Tom Gorman, 33, an unseeded American, and India's Vijay Amritraj, 25, en route to the finals. There his opponent was Roscoe Tanner, 27, a hard-serving Tennessean seeded fifth. Tanner's appearance in the finals was not altogether popular, since his triumph in the semifinals came at the expense of the tournament's giant killer: Pat DuPre, 24, a lanky (6 ft. 2½ in., 180 Ibs.) Belgian-born Alabaman who now lives in La Jolla, Calif. Ranked a lowly 28th in the U.S., DuPre tiptoed into the first round and ambushed fourth...
...just one person, up 54% since 1970. But it warned that the data "do not necessarily portend a sharp rise in lifelong singleness." Most of the increase is accounted for by widows and young people postponing marriage. Other studies show that living together is largely a way station en route from bachelorhood to matrimony...
...start, the bird veers sideways into the crowd sitting behind the platform on folding chairs. Eleven more are launched with equally poor results before a hen named Stephanie soars 60 ft., to the cheers of the congregation. For most of the next two hours, birds with names like Chick en Little, Chickenmauga, Opeck, Granny Kluk and Herb W. Cluckerman drop stonelike or circle back over the crowd. Apparently unruffled by the Shake 'N Bake threat, Otis, when his turn arrives, drops out and down. Kamikaze literally lays an egg en route to the mailbox and can manage only...
...shots executed by a panning camera. Again there is a long tracking take with Allen and Hemingway walking through the streets, and turning corners, on a sunny day. An abrupt cut of the dark apartment with spiral stairs-a static shot with only two bright spots, a typical mise-en-frame. Next comes a "bright" sequence composed of shot-reverse-shot exchange between four characters in the gallery. An abrupt cut shows the same group of people walking down the avenue...
...upon the thematic and philosophical features of Cries and Whispers, while Manhattan reveals many shooting devices typical of Bergman's films, including the temporal prolongation of shots made possible by photographing characters in close-up with the moving camera. By doing so, Allen decreases the theatrical nature of mise-en-scene characteristic of his previous movies (including Annie Hall in which dialogue has been filmed mainly by a stationary camera in front of which the characters perform their parts while the audience views the "scene" from a single perspective). In Manhattan, such a histrionic camera set-up is almost entirely...