Word: journalists
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Dates: during 1970-1979
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...unconditional surrender to the P.R.G. "I believe in reconciliation among Vietnamese to avoid unnecessary shedding of blood," he said. "For this reason I ask the soldiers of the Republic of Viet Nam to cease hostilities in calm and to stay where they are." Afterward Minh told a French journalist, "Yes, it [the surrender] had to be done. Human lives had to be saved...
Another stay-put journalist, Stewart Dalby of the London Financial Times, reported: "I went to speak to some Communist troops heavily armed with grenades and AK47 rifles sitting in a truck outside the old Defense Ministry. They smiled and waved. All of them were very young." A correspondent from Agence France Presse was also glowing. Within hours of Saigon's fall, he wrote, "I could wander about the streets without feeling any threats, any animosity...
Politically Doomed. John Osborne and Frank Mankiewicz approach the story from a different point of view. Osborne is a veteran independent journalist, and his book consists mainly of reprints from his fine "Nixon Watch" columns in the New Republic. They demonstrate once again how perceptive Osborne was in sensing ahead of the rest of the press that the President was politically doomed and that Nixon's psychological stability was doubtful. Osborne's most memorable material is a discussion of the almost Queeg-like attention to petty detail that characterized Nixon's White House work habits long before...
...unpleasant, and more will simply be tedious for those who aren't geared to the director. Only Antonioni's vision of a decadent, uninvolved and overinformed western civilization and its own use of the camera eye corresponds easily to a conventional sense of social criticism. David Locke, the journalist, his wife and his news colleagues all lead prechanneled lives, never confronting nature or themselves. The newsmen chase facts which long since have stopped meaning anything real to them. Like the photographer in Blow-Up, they are observers, lying to themselves about the importance of their observations, as well...
...ENERVATED journalist who takes the identity of a dead gunrunner, Nicholson at first seems all wrong. The most verbally charming of all American actors, he seems in a stasis. Using a monotone reminiscent of a robot's, he flaccidly interviews the only figures he can understand or even find, western-supported African fat cats. When he interviews a witch-doctor who turns the news camera on him. Nicholson has got to turn it off immediately, before it records the vacuity. It is a powerful statement by Antonioni, as his camera slaps down other film makers who have looked...