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...hard to discern the parallels here, almost to see the play as a kind of roman a clef. The weak, frightened character who appears both as the mother of the Hubbard family. Lavinia, and as a neighbor named Birdie Bag try, a young flower wilting on the broken vine of old Southern aristocracy, seems to be drawn from Hellman's own mother, the former Julia Newhouse. Like Living, whose one fixed idea throughout the play is to embark on her "mission" to teach "the little colored children." Julia constantly took refuge in religion, mouthing the words to prayers or ducking...

Author: By Natalie Wexler, | Title: Introducing the Facts of Life | 7/22/1975 | See Source »

...never seen a wild flower as pretty as Margaux. Mirrored in her eyes I imagined I saw beautiful bluebonnets waving gently in a soft Texas spring breeze...

Author: /time Magazine | Title: Forum, Jul. 7, 1975 | 7/7/1975 | See Source »

...owned by ex-Beatle Ringo Starr and Designer Robin Cruikshank. "I had the conventional art-school training, but he comes up with some very unusual ideas," says Cruikshank of his partner. Among Starr's contributions: a doughnut-shaped fireplace and a table designed to look like a flower with petal seats that adjust in height. "With three children," says Ringo simply, "you think of these things...

Author: /time Magazine | Title: People, Jun. 9, 1975 | 6/9/1975 | See Source »

...talk a vivid street idiom with the fluent opulence of jazz. Their moods dance. They make hot, sly, funny, drunken, sexy scenes together that have the cumulative impact of a seduction. Then they fall apart in revealing stop-motion monologues as if a petal were trying to be a flower...

Author: /time Magazine | Title: The Theater: Requiem for the '60s | 5/19/1975 | See Source »

...million metaphorical possibilities, simply as a stage: anything Antonioni dots it with becomes the thing on which the audience must focus its attention. And so the film crawls along agonizingly, a slow methodical parade of pictures to be explored. The pace itself gives Antonioni's existential tendencies time to flower into unmistakable statements, momentary images which seem eternal. It is no accident that if one took The Passenger and cut it into 180,000 or however many frames, each one would somehow be complete in itself and quite beautiful. Antonioni attempts not only to please our eyes. He demands, just...

Author: By Peter Kaplan, | Title: Making the Audience Work | 5/9/1975 | See Source »

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