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...Saint Joan. Saintliness, like beauty, exists in the eye of the beholder. There are as many Joans as there are actresses who play her and audiences who see her. But what was Shaw's personal notion of Joan? Using his own inflective emphases, he describes her as a "protestant" and a "nation-alist." She protests against the authority of the church represented by the Archbishop of Rheims (Max Helpmann) in favor of the individual conscience. She subverts the authority of the lords temporal and their feudal privileges by proclaiming the supremacy of the nation-state. Her real visions, then...

Author: /time Magazine | Title: A Tale of Two Stratfords | 6/30/1975 | See Source »

...Joan escapes Shaw's didactic clutches, and that is why audiences love her. She is an imp of candor and a lioness in courage. She lacks all humor but makes up for it with backslapping bonhomie. Minutes after she has been ushered into the presence of the Dauphin, she is calling him "Charley...

Author: /time Magazine | Title: A Tale of Two Stratfords | 6/30/1975 | See Source »

...Symphony; James Levine, conductor; RCA, $6.98). There appears to be little that James Levine, 31, cannot do, except perhaps play Scott Joplin on the tuba. The remarkable new music director of the Metropolitan Opera already has several superlative operatic recordings to his credit (notably / Vespri Siciliani on RCA and Joan of Arc on Angel). This version of Mahler's Fourth, a genial pastoral masterpiece, has a flowing line rarely matched in current interpretations and an intimacy that, comes close to Bruno Walter's incomparable recording of the 1940s. The formidable Chicago Symphony sounds somewhat more relaxed than...

Author: /time Magazine | Title: Music: Classical Records: Pick of the Pack | 6/23/1975 | See Source »

Directed by ROBERT ALTMAN Screenplay by JOAN TEWKESBURY...

Author: /time Magazine | Title: Cinema: From the Heartland | 6/16/1975 | See Source »

...synthetic mythology; a sweeping national certitude and the hypocrisy that comes with it. Altman is fearless in his thematic ambitions for Nashville, and it is a good measure of his success that the movie is always fleet and supple, never top-heavy. The director and his talented collaborator Joan Tewkesbury (who also did the screenplay for Altman's excellent Thieves Like Us) find their major metaphor right at the heart of the country music scene and the people who create all those tunes about broken hearts and long lonesome roads. One suspects that what attracted Altman and Tewkesbury...

Author: /time Magazine | Title: Cinema: From the Heartland | 6/16/1975 | See Source »

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