Word: jour
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...also a candidate for the presidency of the U.S. While a shadow cabinet of kingmakers sits in his house discussing his future, Kingsley is out on the lawn auditioning young actresses for a new movie. Parts of that film-conceived of as a kind of satire on Belle de Jour in which men run a brothel catering to perverse women customers-becomes a movie within Maidstone. It is, indeed, often impossible to discern which of the two films we are watching...
...Haymarket in Chicago police broke up a peaceful rally by the Knights of Labor to protest the murder by police several days before of Jour union men who had been striking for an eight-hour day. As the police went sweeping through the crowd, a bomb exploded. Chaos developed: police opened fire on the demonstrators. Sixty-seven police were wounded and seven died; casualties among the demonstrators were three times that. Police blamed anarchists for the bombing, and to prove it, they planted dynamite in their homes before they arrested them. The anarchists said that the bomb was thrown...
Like the well-heeled French wife played by Catherine Deneuve in Luis Bunuel's movie Belle de Jour, the girls apparently engaged in part-time prostitution for more than the money. Not that the money was bad; Giselda charged $80 to $250 per coffee break, and her girls received cuts ranging from $50 to $100. They never worked past 8:30 p.m., and they were usually home in time for dinner with their unsuspecting families. Some psychologists theorized, however, that this sexual moonlighting was an illusory attempt to satisfy the modern needs for freedom, adventure and unhampered sexuality-particularly...
...Arab world, he imparted a sense of personal worth and national pride that they had not known for 400 years. This alone may have been enough to balance his flaws and failures. The Arabs thought so, and when a heart attack felled him, Beirut's French-language daily Le Jour cried: "One hundred million human beings?the Arabs?are orphans. There is nothing greater than this man who is gone, and nothing is greater than the gap he has left behind...
Much of Tristana's success lies in the director's scrupulous ambition. Once he was satisfied with the village atheism of Nazarin or the facile eroticism of Belle de Jour. In his 29th film, he is content with nothing less than the face of Spain. Don Lope's backchat with his comrades is an indelible vignette of the inhuman condition, where the aging pick the reputations of their fallen comrades, like buzzards wheeling over cadavers. In the background hover the symbolic figures of deaf-mutes, youths whose voices, like many Spaniards', cannot be heard. Yet Tristana...