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...Blue goal was the result of a needless hands violation by the Crimson. The free kick landed in a maze of Harvard and Pennsylvania players about 20 yards directly in front of the Crimson goal. Out of the melee came a shot by Norm Bierman fired past goalie Bob Forbush, who was caught on the wrong side of the cage...

Author: By Robert E. Smith, | Title: Crimson Soccer Team Beats Quakers, 2-1; Chang Scores in Last 3 Minutes of Game | 10/31/1960 | See Source »

Life in this country is only described in passing ("the tricky proliferation of America: an unfolding maze of Saturday movies, roller skating rinks, picnic grounds, church ladies, colored people...") but the beginning of the story has already indicated what effect it has had upon her parents: "They use paper napkins instead of the linen, rolled up in napkin rings; they like Pepperidge Farm bread and even Jello." The tale is, on a number of counts very sad, Miss Halley's prose is rich and evocative, and the story's exquisite construction succeeds in delaying the point until the very...

Author: By Peter E. Quint, | Title: First Person | 10/21/1960 | See Source »

Threading his way through a maze of PERT charts, Raborn could spot trouble in advance-at Sunnyvale, Calif., where Lockheed Aircraft Corp., prime contractors for the missile kept 9,000 men on the job, at the new plant near Sacramento where Aerojet-General Corp. was working on solid-fuel rocket engines, at the Groton, Conn, sub pens of the Electric Boat Division of General Dynamics Corp. From weekly progress reports he could tell where to pour on extra effort to break a prospective bottleneck. Contractors had a hard time keeping up with Raborn's knowledge of what was going...

Author: /time Magazine | Title: DEFENSE: Power for Peace | 8/1/1960 | See Source »

...Maze of Mirrors. What emerges from Bergman's personal and passionate process of creation bears small resemblance to the Hollywood product. Often Bergman's images are sudden, vivid, enigmatic. His camera makes a running and usually ironic comment on the action. He tells his story in subtle cadences of closeups ("What interests me is the face"), letting his camera move surely, sensitively with the flow of feeling and expression. There is a kind of stillness sometimes even in violence, a magic even in the commonplace...

Author: /time Magazine | Title: THE SCREEN: I Am A Conjurer | 3/14/1960 | See Source »

Furthermore, the spectator is too frequently caught in a maze of mirrors, a ricochet of flashbacks. Bergman likes to wander away from his audience into a child's garden of vices where he plays "biting little games" of innuendo and digs "poisonously squirming worms of association." Often he wanders even farther, down into weird sea valleys of sick imagination where all human values are dissolved into primordial symbols and only a psychiatrist can adequately follow. Yet Bergman's films can be seen as a fascinating psychological record of his struggle to rise out of these cold depths...

Author: /time Magazine | Title: THE SCREEN: I Am A Conjurer | 3/14/1960 | See Source »

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