Word: mon
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Dates: during 1960-1969
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...falling on a blue-and-white plaster Madonna whose forehead had been punctured by a bullet. Steiner was standing in the refectory, the strain of the war lining his face. "You must save Aba at any cost," pleaded Ojukwu. "You must hold the place-is that clear?" Steiner hesitated. "Mon colonel, I was only a sergeant in the Legion," he said. "I cannot command a division." Replied Ojukwu: "Oh, but you will. And you will hold...
Last week the old culturist and the old commercialist got together. Norton Simon Inc. announced that it had agreed to acquire Susskind's Manhat tan-based Talent Associates Ltd. as a wholly owned subsidiary. Although Si mon remains his conglomerate's biggest stockholder, he has left its active man agement largely to Chairman William E. McKenna, who engineered the Tal ent Associates acquisition as a way of expanding his firm's activities in the communications field. Through McCall Corp., Norton Simon Inc. already pub lishes McC all's magazine (circ. 8,500,000). McKenna looks...
...rioters the concessions that they wanted. Pompidou threatened to resign if De Gaulle did that, and pressed him instead to dissolve the National Assembly and call new elections. Many politicians believed that Pompidou also warned that if France did not heed De Gaulle's appeal for order, "Mon Genéral,-you must leave...
Holy Hindsight. In her reviews, Miss Kael usually assembles a wealth of detail from past movies. She detected that footage purporting to show atomic-bomb damage in Hiroshima Mon Amour was not authentic, but had been lifted from an earlier Japanese atrocity film. She is equally discerning with movies that are morally pretentious. With "holy hindsight," she wrote, Screenwriter Abby Mann and Producer Stanley Kramer had used Ship of Fools to heap scorn on Germans and Jews who lacked the prescience to see that Nazism was coming. The film, she asserted, implies too facile an equation between shipboard rudeness...
...derision of U.S. movie moguls and their rampant commercialism, Pauline Kael is not an art-house snob. She prefers genuine American kitsch, if it has style and verve, to such avant-garde films as Hiroshima Mon Amour, Red Desert and Last Year at Marienbad ("the snow job in the ice palace"). Among her favorite directors are John Frankenheimer and Orson Welles, who provide "clean, fast pacing without the fancy stuff. It goes better with our national rhythm." A onetime experimental moviemaker in San Francisco, where she grew up and attended the University of California at Berkeley, she finds today...