Word: michell
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Dates: during 1970-1979
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...they had not counted on an extraordinary and almost Lyndonesque display of political arm twisting by that 25-year veteran of the House, Gerald Ford. The President arrived back in Washington from his European trip at midweek. Minority Leader John Rhodes and G.O.P. Whip Robert Michel had already been at work among the potential Republican defectors. For those with aching economic problems in their home districts, Michel spelled out an escape: they could vote against the Democrats and then support his own much reduced version of the jobs bill...
...astonishing performance. In all, 18 Congressmen changed their minds-although some had been won earlier by Michel's escape bill, which allowed them to endorse the principle of more jobs while spending far less money. With just three minutes to go in the 15-min. voting period and the Democrats seemingly coasting to a victory, Rhodes gave the signal for the Republicans to start shoving their voting cards into the electronic slots that register the tallies in the House. In minutes the electronic scoreboards on the gallery walls showed Ford's victory: 277 to override, 145 against. That...
Here, a French gunrunner (Michel Piccoli) and a British officer (Michael York) dash about North Africa during the early days of World War II, trying to avoid the Germans and get back to safety. Our boys do fairly well for themselves, but the stresses of escape and pursuit weigh heavily. "Let's surrender," suggests the Englishman after a particularly grueling day. "Why?" asks his French ally. "Because,' says the Englishman with invincible and poignant common sense, "I'm hungry...
...same vein. Michel has painful difficulty marketing his film--his coarse and obese producer, between puts on a cheap cigar, urges him to spice it up with a few deaths, since no one is interested in live Jews these days. Returning from his interview at the studio. Michel rescues a young student who has been beaten by the police at a demonstration and helps him escape, largely because of his childhood experiences as a fugitive. Unable to understand his rescuer, the student mocks the study of film making as an occupation and needless Michel incessantly about his "bourgeois" life style...
UNFORTUNATELY, Drach's view of the contemporary significance of the occupation remains obscure as well. The implied connection between a vulgar, greedy film producer, a policeman beating a demonstrating student and Michel experiences in the occupation is never clarified. The student is hardly a sympathetic figure--his rhetoric is simplistic and his behavior infurlatingly self-righteous--yet the director suggests that his resistance to the French police today is somehow analogous to his resistance to Vichy. Nevertheless, though his understanding of this connection is unsatisfying, Drach has found an effective formal means--the intercutting of color and black-and-white...