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...north, living on flat grassland that backs up to Sahara sands, dwell the Hausa and Fulani, haughty, devout Moslem peoples governed locally by feudal emirs. The Western Region is the home of the Yoruba, a tribe known for its profusion of gods (more than 400) and its joie de vivre. To the east, where they are now trapped, the ambitious and clever Ibo people thrived. Brought forcibly together under colonial rule, the three regions developed the hatreds and jealousies of totally different cultures. Most hated of all?and most envied by other Nigerians?were the Ibos, quite possibly Africa...

Author: /time Magazine | Title: World: NIGERIA'S CIVIL WAR: HATE, HUNGER AND THE WILL TO SURVIVE | 8/23/1968 | See Source »

...blind girl literally lives her role; she is truly blind. The ragpicker (Sachiko Hidari), a painter who never acted before, is as narrow as a rice stalk, so emaciated that he sometimes seems to have two profiles in search of a face. But Hidari radiates a beggar's joie de vivre, in contrast to the boredom of the well-to-do. Thus he underlines the film's theme: in present-day privileged society, the cost of the good life is charged to the spirit...

Author: /time Magazine | Title: Cinema: Oriental Antonioni | 5/5/1967 | See Source »

...Capriccio for Piano and Orchestra, Balanchine created lively, Broadway-flavored footwork. In the hot atmosphere of scarlet costumes and lighting, his dancers bobbed, swiveled and stretched in patterns of perky wit and sexy grace. Patricia Neary clowned elegantly, and Edward Villella and Patricia McBride drew cheers for the jazz joie de vivre with which they bounded through their intricate roles...

Author: /time Magazine | Title: Ballet: Gem Dandy | 4/21/1967 | See Source »

...love," an American divorcee named Wallis Warfield Simpson. Afterward, the ex-King, who was narrator as well as star of the film, murmured to French reporters: "Beaucoup de tristesse et beaucoup de joie...

Author: /time Magazine | Title: People: Feb. 18, 1966 | 2/18/1966 | See Source »

Zweig's Mosca poses serious problems for any actor: he must be portrayed straightforwardly in a cast of caricatured characters. After finessing a series of unsavory plots, he must win both the audience's admiration and their acceptance of his reformation. The boyish energy and joie de vivre which John Cunningham brings to the part help to solve these problems: he clearly enjoys his villainy because he enjoys quick-witted plots, particularly at the expense of villains, rather than because he shares the other charactrs' vices. Cunningham understandably has trouble with the rather mawkish conclusion, which Carnovsky has adapted from...

Author: By Heather J. Dubrow, | Title: Volpone | 12/8/1965 | See Source »

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