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Originally, Juan Carlos insisted that he would never accept the throne as long as his father was alive. But last January, in an interview with Spain's official news agency, he remarked that he had come to lean toward "political legality." The Prince meant he accepted the view that Franco was empowered under the present constitutional framework to restore whomever he wished to Spain's throne. Until then, the Prince had shared his father's belief that "dynastic legality" must be maintained and that the Borbón line must not be interrupted. Commenting on the likelihood...

Author: /time Magazine | Title: Spain: Clarifying the Succession | 7/25/1969 | See Source »

From the Bauhaus drawing boards, lean, well-proportioned buildings came forth to challenge the Gothic, Baroque and neoclassic structures of the day. One of the best examples of the austere new look was Gropius' design for the Bauhaus' second home in Dessau. Flat-topped and structurally spare, the building had horizontal bands of windows that made it seem to hover effortlessly above rather than rest heavily on the ground. Such buildings had no more of a distinct national style than a locomotive, a chair, a doorknob, or any other machine-made object...

Author: /time Magazine | Title: Architecture: The Idea-Giver | 7/18/1969 | See Source »

Carl Nathan, a Harvard Medical School sophomore, is a lean, personable redhead who recently testified against the drug industry before a Senate subcommittee. He is plainly representative of the new type. "Some people think they are serving humanity by withdrawing from the world and studying all the time," he says. "Studies are important, of course, but you have a duty not to withdraw from everything else." Ken Rosenberg, a second-year medical student at Tufts, is far more radical than Nathan. His Cambridge apartment is a hodgepodge of stray socks, underground newspapers and books by Herbert Marcuse. Rosenberg, uncertain whether...

Author: /time Magazine | Title: Schools: Student Activists | 7/18/1969 | See Source »

...compared favorably with Ingmar Bergman and Orson Welles. Still, general acceptance of the auteur theory has given American directors new power with major studios and fresh rapport with audiences. Though no American film maker has yet achieved the stature of Italy's Visconti or Britain's David Lean, a handful seem to be well on their way: ∙ ARTHUR PENN. A product of television and stage work, Penn successfully brought his Broadway hit, The Miracle Worker, to the screen. At first, he proved better at transferring than at creating. His early experiment, The Left-Handed Gun, starring...

Author: /time Magazine | Title: Cinema: The Film Maker as Ascendant Star | 7/4/1969 | See Source »

Other men have lost their lives in the Civil War; Milo has lost his identity. He remembers nothing that happened before his war injury. Now, fearful and gullible, he traverses the countryside, a figure as lean and dangerous as the bowie knife he carries on his hip. When the two wanderers attend a fundamentalist camp meeting, George joins the screaming sinners who gather at the preacher's feet. The next morning the preacher is found hacked to death and Milo has vanished. George pushes on to a new town and eventually to a new home. But he knows that...

Author: /time Magazine | Title: Cinema: Gothic Legend | 6/27/1969 | See Source »

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