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...artists who sought to enshrine her, none had such means to match her genius as Rodin. Even their first meeting was Olympian. "My pilgrimage to Rodin," she recalled, "resembled that of Psyche seeking the God Pan in his grotto, only I was not asking the way to Eros, but to Apollo. He showed his works with the simplicity of the very great." The aging sculptor returned her admiration with a passion, sketched Isadora and her pupils countless times, once sighed: "If only I could have had models like this when I was younger." Isadora responded in kind: "What a pity...

Author: /time Magazine | Title: Exhibitions: Recalling Isadora | 8/19/1966 | See Source »

Outspoken Spokesman. The secret of Heston's success is his capacity for appearing virile without being lecherous in Olympian roles. He is tall in the saddle (6 ft. 2 in.) and so adamantine that Jennifer Jones broke her hand slapping his face in a scene from Ruby Gentry. Furthermore, it is a virtuous, earnest face that most women would not want to slap. In his films, he is usually too busy dabbing away at a Sistine ceiling or chasing chariots to chase girls...

Author: /time Magazine | Title: Actors: The Graven Image | 8/12/1966 | See Source »

...Twenty years ago I'd be shipwrecked if I didn't make an Olympian out of an Abramson,' "says swimming coach Bill Brooks, "but now I accept that he is a class marshal and has other committments as well as swimming...

Author: By Boisfouillet JONES Jr., | Title: THE SENIOR SLUMP: Upperclassmen Fade Away in Athletics | 6/16/1966 | See Source »

...college career of a Crimson swimmer who eventually became an Olympian, Brooks asked him, "Why didn't you go to Yale?" "Those were the old days," says Brooks. "That boy was giving 80 per cent of his energy to swimming at a time when I was giving a corny speech about dedicating 30 per cent to swimming...

Author: By Boisfouillet JONES Jr., | Title: THE SENIOR SLUMP: Upperclassmen Fade Away in Athletics | 6/16/1966 | See Source »

Director Donen dissipates his cast's effectiveness by having everyone affect a tone of languorous boredom, presumably as a clue that Arabesque belongs in the realm of sophisticated comedy. To mask weaknesses and justify the movie's title, Donen puts his camera to a series of Olympian trials, filming at dizzying angles through, under, or into the reflections of sunglasses, grillwork, optical tools, windshields, mirrors, table tops, television screens and the chromium trim of a Rolls-Royce. The cinematic busywork offers sporadic fun, but also suggests the unsteady posture of a show that always seems about to fall...

Author: /time Magazine | Title: Cinema: Balancing Act | 5/20/1966 | See Source »

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