Word: hiroshima
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Less than three years after the chain reaction in Chicago, the U.S. had built atomic bombs and dropped one on Hiroshima and one on Nagasaki. The years since then have witnessed, on both sides of the Iron Curtain, a vast buildup of nuclear weapons-more than enough, it is often pointed out, to be theoretically capable of destroying every human being on earth. And the continuing deadlock of U.S. and Russian negotiators in the test-ban talks at Geneva indicates that men cannot expect in the foreseeable future a trustworthy nuclear disarmament agreement between East and West...
...taken during the preceding few days by U.S. reconnaissance planes over Cuba. They furnished staggering proof of a massive, breakneck buildup of Soviet missile power on Castro's island. Already poised were missiles capable of hurling a megaton each-or roughly 50 times the destructive power of the Hiroshima atomic bomb-at the U.S. Under construction were sites for launching five-megaton missiles...
...following the woman-it is almost impossible to tell because he, like she, seems in no hurry. The director (Michelangelo Antonioni? Alain Resnais? Federico Fellini? Francois Truffaut?) is definitely in no hurry. The movie (La Notte? L'Av-ventura? La Dolce Vita? Hiroshima, Mon Amour?) is 50 minutes long already, and still the woman is walking, the man is walking, and the only real involvement anywhere is occurring among people, who are not walking but sitting, scattered throughout the theater, nodding and telling each other how real, how honest, how truly artful...
...natural. It strains for greatness in every frame-the strain shows but the greatness doesn't. Even so, The Island is an impressive work of artifice, surely one of the best movies ever made for less than $20,000. Purists will praise Director Kaneto Shindo (Children of Hiroshima) for his skill at telling a story without words, and everybody will be grateful to Cameraman Kiyoshi Kuroda. As he sees them, the gorgeous shore-scapes of the Inland Sea, like all worlds in the Oriental sense of things, dissolve and reel away into visionary vastness, into the pure space...
Philosophically, Marienbad raises only cocktail questions. Nor has Resnais experimented with his medium, for he takes no real risks. On the basis of Hiroshima Mon Amour, interestingly enough, he was virtually assured of wide critical attention and box-office interest. A true risk, artistic or otherwise, never really takes the form of a publicity stunt...