Word: marcell
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Dates: during 1960-1969
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...cinema has replaced the church, and people seek truth at the movies instead of at the Mass," says French Director Marcel Camus, whose sweeping ideas sometimes run a little too fast for the projector. Camus (no kin to the late writer-philosopher) reached the upper crest of the French cinema's New Wave with his Black Orpheus, a rambling but intensely poetic movie he produced by hiring amateur actors and coaxing action out of them against wild festival backgrounds in Rio de Janeiro. The formula worked so well that last fall Camus returned to Brazil, hired two professional actors...
...just before he left. "How I love you," he cried between dollops of Scotch. "Here in Brazil there is no hate, only love. Here we are all brothers." Just then, Brasilia's power failed, and waiters made their way through the dark to light candles. For some reason, Marcel Camus did not shoot the scene...
...Manhattan's City Center, Marcel Marceau was for half the evening the superb solo mime he had proved before; in the second half, introducing his famous Compagnie de Mime, he performed movingly in a "mimodrama" of Gogol's The Overcoat. This igth century tale of an out-at-elbows clerk who for years toils obsessively to own a fine overcoat only, after an intoxicated moment of triumph, to be robbed of it, is one of literature's most surcharged parables, often with meanings beyond words. And without words Marceau at times approached those meanings as-against...
Casualness & Ceremony. Johnson, a wiry, intense man with enough money to do as he pleased, was now a name in architecture, but he longed to be an architect himself. In 1940 he went back to Harvard, whose Graduate School of Design boasted not only Gropius but also Marcel Breuer. Finally, after a stint in the Army as private first class No. 31-303-426 and three more years as "a self-employed designer," Johnson got his New York State license to practice. At 42, his career began in earnest...
...factor in the development of art and always will remain so," Dadaist Kurt Schwitters wrote in 1931. "I say this with all possible emphasis so that nobody afterwards can say: The poor man didn't even know how important he was.' " The Dadaists (among them Jean Arp, Marcel Duchamp and Max Ernst) took their name from a nonsense phrase, but thought they were making sense of a kind. In the disillusioned aftermath of World War I. Schwitters used the bric-a-brac of everyday life-fragments of newspapers, railroad maps, timetables, string, bottle caps, photographs-to assemble collages...