Word: lifeness
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Dates: during 1970-1979
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...eager to reduce its dependence on Middle Eastern crude, and proximity creates a natural market for Mexican exports. By helping to meet the U.S. demand for oil, Mexico could acquire the capital it needs to modernize its economy, thereby offering its impoverished masses the chance for a better life. But, riding a wave of nationalistic feeling at home, López Portillo has made it clear to Washington that Mexico's response to America's energy needs will be dictated by a) his own country's special interests and b) the resolution of other nagging issues that cloud U.S.-Mexican relations...
...Portillo pointedly reminded Carter of the new facts of hemisphere life when the President visited Mexico City in February, tongue-lashing his guest for treating Mexico with "a mixture of interests, disdain and fear." Caught off guard by that undiplomatic verbal assault, Carter responded with one of the more unfortunate utterings of his presidency, a rambling ac count of how, on a previous visit, he had been afflicted by "Montezuma's revenge...
...P.R.I.'s middle-class supporters, who saw their savings and life-styles threatened. Mexico's support for a 1976 U.N. resolution equating Zionism with racism provoked a short-lived boycott of Mexican resorts by American Jewish tourists, thereby staggering an industry that is the nation's largest employer (460,000 jobs). Echeverria's unpopularity had its impact on the election of his successor. In an expression of discontent with the P.R.I., voters ignored the party's customary flamboyant campaign; only 50% of them bothered to cast their ballots...
...sense, Actress Geraldine Chaplin brings very little to her television role of Lily Bart in Edith Wharton's The House of Mirth. Says Chaplin about the bustled turn-of-the-century gowns she wears: "I get to have a behind, which I don't have in normal life." But Chaplin has little sympathy for Lily, who ignores love in favor of a convenient marriage and who snuffs herself out with chloral after her reputation is compromised. Says Chaplin, who for 13 years has lived uncompromisingly with Spanish Director Carlos Saura: "I like playing her. I wouldn...
...these decadent people? It is not to create a morality play. The director does not ask us to care about his characters or even to judge them; they are only instruments to make us share his vision of the world. As always, Bertolucci owes a lot to Verdi, whose life and work is invoked here even more than in 1900. The director believes that life takes on its fullest meaning when it is lived at the intensely passionate pitch of grand opera. By sheer cinematic force, he seduces us into sharing his perverse, voluptuous sensibility...