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Human Touch. Changes seemed to be glacial under former commanding General James Polk, an old-fashioned "spit and polish" soldier who retired last spring. He was succeeded in June by General Michael S. Davison, 54, who formerly commanded Field Force II in Viet Nam and served as Commandant at West Point. Davison, rated by a Pentagon colleague as "a professional with a human touch," is already having an impact. After an inspection, Davison pronounced the Army's barracks "a scandal and a disgrace," and will supervise the spending of $70 million earmarked to refurbish the worst of them...

Author: /time Magazine | Title: The Nation: The Forgotten Seventh Army | 10/4/1971 | See Source »

...befits a one-man race, the pace of the official month-long campaigning that began last week for South Viet Nam's presidency was positively glacial. Until a TV appearance at week's end in which he suggested that a no-confidence vote would be a vote against democracy, President Nguyen Van Thieu had not made a single campaign speech. His total campaign effort, it appears, will consist of three TV and three radio broadcasts. Previously planned visits to the countryside were scrubbed for security reasons, but were unnecessary anyway in the absence of any opposition. Saigon, meanwhile...

Author: /time Magazine | Title: The World: Two Voices in a One-Man Race | 9/20/1971 | See Source »

Steve McQueen's style of glacial cool has been perfected close to the point of impenetrable mannerism. Playing a racing driver in Le Mans, he only stands in front of the camera and allows himself to be photographed. Occasionally his lips will twitch into that shy, strong, ironic half-smile that he has made his trademark. In really grandiose scenes he may make a gesture. He might even wave. But only under pressure...

Author: /time Magazine | Title: Cinema: Wheels: Petit Prix | 7/12/1971 | See Source »

...discarded by politics: in the high, empty gossip of the Muscovite prisoners; in the pathetic scramble for a few shreds of tobacco; in the epic wasteland of ice and snow. More illuminating than either the performances or the screenplay is Sven Nykvist's Arctic photography, shot in the glacial reaches of Norway. Long a cinematographer for Ingmar Bergman, Nykvist can achieve a tactile sense of dread; his expanses of snow are more than weather: they seem vast pages upon which no one dares to write...

Author: /time Magazine | Title: Cinema: Witness | 5/31/1971 | See Source »

...film's four-track stereo sound makes the theater throb, and the camera captures Cocker's famous, frenzied delivery-holy man seized by a vision, sweating, growling, rolling his eyes and moving in great bursts of spastic energy. By contrast Russell surveys the scene with an almost glacial cool as he strums an electric guitar or pounds what remains one of the cleverest rock pianos in listening distance...

Author: /time Magazine | Title: Cinema: On the Road | 4/19/1971 | See Source »

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