Word: filming
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Dates: during 1980-1989
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...research at London's Institute for the Study of Terrorism: "In the Islamic world, a call from the Imam is a full command . . . The worst of it is that this threat could remain in effect for months." Or even years. In a BBC radio interview, an exiled Iranian film director, Reza Fazeli, who himself has been the target of a Khomeini death threat and whose son was killed in a 1986 terrorist attack in London, said Rushdie faced a "living hell." He continued, "I had to learn to look over my shoulder. If they kill you, it's over...
...among other things, tried to halt the showing of a $17 million movie epic called Muhammad, Messenger of God at theaters in New York City and Los Angeles. Though the tone of the movie was reverential, the producers had met endless difficulties in making it, including expulsion of the film crew from Morocco. In 1980 Saudi Arabia vehemently protested a British-American TV "drama documentary" called Death of a Princess, which told the story of the 1977 executions of a young married Saudi princess and her lover. Some Muslims have even objected to Children of Gebelawi, a 30-year...
LAWRENCE OF ARABIA. David Lean's 1962 biopic, starring Peter O'Toole as adventurer T.E. Lawrence, was the first and finest epic of ideas. Now the film has been lovingly restored to 217 minutes, every one of them glorious. Military strategy was never so movie compelling. Sand was never so sexy...
After earning a degree from Columbia's Graduate School of Journalism in 1977, Lacayo began a seven-year free-lance career during which he wrote about theater, film and TV for the New York Times and other publications. Since joining TIME in 1984, he has contributed to nearly every section of the magazine. During a three-year stint as the Law section writer, he found time to profile author Susan Sontag and survey Hispanic culture for TIME's special issue on that topic...
...TIME's editors that the magazine should devote more coverage to the art. His wide choice of subject matter has included the off-center visions of Garry Winogrand and the embracing eye of LIFE's Alfred Eisenstaedt. Yet Lacayo prefers to make his own impressions with words rather than film. "I don't take photographs," he notes. "I take snapshots." After all, when he wants to look at enduring images, all he needs to do is reach for that beat-up old Cartier-Bresson volume that he still keeps close at hand...