Word: franco
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Dates: during 1970-1979
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...move, however, to erase the old enmity between French and Germans. Though De Gaulle was raised on his father's stories of his wounds and France's disgrace in the Franco-Prussian War, le Général had a profound respect for the abilities of the Germans. On a visit to the Soviet Union in 1945, De Gaulle stopped off to see the battlefield at Stalingrad. For a long time, he stood mute before the incredible destruction. Molotov waited for his comment. Finally it came. "Un grand peuple," De Gaulle said somberly. "Un grand peuple...
...Franco-American relations, Wylie said that de Gaulle's death would make no difference whatsoever. "The writers of editorials in American newspapers will find the outlook bleak because they don't have de Gaulle as a whipping boy anymore," he said, "but his death will make no difference in international polities...
...even pieces of furniture, is a statement the way a painting is a statement: it has been designed and it signifies. Vanessa Redgrave, not quite fresh from her role as one of the objects in Blow-Up, enters this perfectly bourgeois room and crosses to her trussed-up lover, Franco Nero, here a non-figurative painter. She turns on a burnishing wheel that begins to polish Nero's foot and Petri cuts to another action expressing a corollary anguish, a shot of her pulling his hair. It's only Nero's dream, though...
Marcello Mastroianni plays an aristocratic weakling (Franco Nero having been an aristocratic obsessive, and both being typical heroes for narrative films) confined to his opulent family mansion at the end of a dead-end street, watches people on the street through a pocket telescope. This utterly point-of-view technique separates him from the film's dramatic action and makes him a moral observer, murmuring "do it" or "no, no" as the blacks who inhabit the rest of the street perform the actions...
...FRANCO COLAVECCHIA, lecturer on Visual and Environmental Studies and designer-consultant for the Loeb Drama Center, is another example of token integration of the arts at Harvard. We need design for the stage, but how about a stage for design...