Word: loved
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Dates: during 1970-1979
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...love zooming down a hill or along a flat space with the breeze blowing through my hair. Going up hills like Plympton St., I love that feeling of bulldozer strength as my arms reach back on the wheels and push forward, reach back and push forward. I try and put a little flair in all my turns and grace in as much of my movement as possible. When I'm travelling at speed my hands do a little ballet on the rims of my wheels...I get in a rhythm of moving in the chair, my mind gets involved...
There will be a Love Boat look-alike in a show called Coastocoast, the only difference being that the action will take place aboard the planes of a New York-to-Los Angeles airline rather than a cruise ship. Legs will presumably have lots of them, all belonging to Las Vegas showgirls. Produced by Garry Marshall, who is also the man behind ABC's Laverne and Shirley, it will probably have its polished, if dim, comedic style...
...wild chase to discover whether a philandering millionaire (Jean-Pierre Aumont) was indeed murdered by his jealous wife (Michele Morgan). The plot is complex and at times ingenious, but it is mainly an excuse for Lelouch to indulge his romantic reveries. Almost every character in the film falls in love at least once, usually with idyllic effect. The liaisons are delightfully improbable. Antagonists Reggiani and Morgan both carry on with gorgeous lovers half their age before making a beeline for each other; Lechat's daughter (Christine Laurent) marries his partner (Philippe Leotard) right after their first blind date. Though...
...seems to. But, that's just the point. Not only is she using him for her own pleasure, to look at, and for her own uses, to tape, but the very fact that she does so only emphasizes and underlines and contrasts the sincerity of Madame Rosa's love...
Even though there are differences between Momo and Madame Rosa they are as superficial as Madame Nadine's love for the boy. What they boil down to is a glue that binds. Both the woman and the boy are members of persecuted minorities, alone, haunted by their pasts and trapped as much by wanting to stay in their surroundings as by their material inability to escape. It is irrelevant, as far as their relationship goes, that, for instance, one is Jewish and the other Arab. Because it is, director Moshe Mizrahi makes the point that appearances really are no more...