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Word: fran (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...This is heartbreaking," said Student Paloma Picasso, 21, after a French court refused to recognize her brother Claude as Painter Pablo Picasso's legal heir. Since both Claude and Paloma are children of Picasso's former mistress, Françoise Gilot, the decision seemed to rule out any chance that Paloma might eventually share fully in her father's vast fortune. But it did not leave her entirely without assets...

Author: /time Magazine | Title: People: Apr. 27, 1970 | 4/27/1970 | See Source »

...François Truffaut has often spoken of his affection for rapid and startling changes of mood. Shoot the Piano Player careened crazily from farce to thriller, and interludes of pastoral bliss alternated smoothly with scenes of excruciating emotional warfare in Jules and Jim. In these films, Truffaut mingled the various moods; in The Mississippi Mermaid, he segregates them severely. The first half of the film is a thrilling tale of obsession that slides-almost imperceptibly-into an ironic and slightly fanciful romance. The result is certainly Truffaut's smoothest, most professional piece of film making. It is just...

Author: /time Magazine | Title: Cinema: Truffaut in Transition | 4/27/1970 | See Source »

Terrazon, an untrained actor, moves with the swagger of the truly insecure. Surrounding him are other amateurs, including a grandmother (Marie Marc) who manages to define affection in terms that François finally comprehends...

Author: /time Magazine | Title: Cinema: One Homeless Boy | 3/30/1970 | See Source »

...deprived children, adult eyes watch from juvenile faces. François never completely changes; in the end, a prank turns into tragedy, and François takes a giant step backward to an institution. But if hope is dimmed it is not entirely extinguished; François is no longer a child, but neither is he unadoptable...

Author: /time Magazine | Title: Cinema: One Homeless Boy | 3/30/1970 | See Source »

Among the financiers of Me were François Truffaut and Claude Berri, whose films, The 400 Blows and The Two of Us, were also examinations of childhood. In this case, their role was strictly financial; Maurice Pialat deserves the credit for his direction of citizens who say more about life than they say about themselves...

Author: /time Magazine | Title: Cinema: One Homeless Boy | 3/30/1970 | See Source »

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