Word: leanings
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Dates: during 1970-1979
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...cries of a generation that would not go to war, a generation that could not support a system that it believed reaped extra dollars out of every platoon that charged into battle. Instead the talk in Congress is now of prudence and economy, and the virtues of a lean, hard fighting force. It is safe--even profitable--to forget the lessons of the past decade...
...month that holiday travel starts to soar, and this year vacationers will be offered a bagful of bargains in air fares−thanks in large part to an unlikely bureaucrat named Alfred Kahn. A lean, balding, hatchet-faced man who teeters back and forth in his high-backed leather chair, Kahn, 60, looks like a restless hawk. The image is apt. In less than a year as chairman of the Civil Aeronautics Board, he has outdone any of his predecessors in shooing the airlines out of the cozy hen house of Government supervision that has protected and confined them...
...devilry. (One example: the town detective's daughter refused to accompany her parents to a restaurant without a mangy toy elephant. But when they leave her at home, she pleads abuse to the neighbors, who fall for it and prepare her a special gourmet care package.) Truffaut does not lean heavy on the social commentary, as he did in "The 400 Blows," his first film about growing pains. He's less angry, less insistent, and generally less involved. He lets the town kids take over. And they delight...
...moral core of the play, a bit of a standoffish prig, perhaps, but still unstainably idealistic. In Rene Auberjonois's handling he is merely sweatily fretful, like someone who has just received word that he is up for an IRS audit. When it comes to the lean and hungry Cassius, Richard Dreyfuss looks like someone who makes substantial midnight raids on the fridge. More pertinently, he appears as the soul of sanity, a jarringly implausible refutation of the qualities of envy, thwarted ambition and deviousness that are an intrinsic part of Cassius' makeup...
That is the effect that solo dancing should have. When it worked in this performance, it was usually because Elaine Bauer danced Princess Aurora (she alternated in the title role with Laura Young and Durine Alinova). Elegant, long-limbed and lean as a grasshopper, Bauer is easily the finest ballerina Boston's got. She is not a great dancer: the flow of near-perfect form is missing, and sometimes she moves with an awkward detachment from her body, hands and feet stiff as saucers. But unlike Laura Young, for example (who danced a typically colorless Princess Florise), Bauer focuses...