Word: parisian
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Dates: during 1960-1969
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...plot of the scandal is triangular, and the third party was handsome, mus cular Stevan ("the Bull") Markovic, a 31-year-old Serb who worked for Alain as a combination valet, bodyguard and friend. When Delon and Nathalie sallied forth to Parisian boites and discotheques, surrounded by their band of hangers-on, Markovic was always at their side. Wherever Alain went, in fact, Stevan was sure to go. He lived with them in their plush town house at 22 Avenue de Messine, traveled with them to their luxurious beach home at St.-Tropez. A skilled wrestler, he was equally quick...
...over the centuries has sucked the blood out of her provinces." Things were set up that way back in the early days of the French Revolution, when the nation was chopped into nearly 100 illogically ar ranged departments with the firm intention of making every local decision dependent upon Parisian whims. That situation still exists today: "Not a statue can be erected, not a centime spent, without Paris becoming involved," moans a Breton official...
Costals accepts neither. He cannot abide the idea of married coupling ("sublimation, wrangling and frenzy"). Instead, as a change from Andrée's overblown (not to say overwritten) femininity, he pursues Solange Dandillot, a pretty and reassuringly placid young thing from the Parisian upper middle class. At first she is just right for him, pliant and emotionally phlegmatic. But soon a monster, which Costals calls the Hippogriff, begins to stir in her. In short, she becomes a woman who wants to get married. To that end, she willingly suffers every humiliation that Costals can devise for her, including...
Pierre Cardin is the Parisian fashion designer who first put models in crash helmets, matched short skirts with colored stockings and more recently dressed men and women in futuristic space suits. Fashion experts rank him among the top five trend-setting designers, along with Yves St. Laurent, Courreges, Ungaro and the House of Dior. As haute couture's top entrepreneur, however, Cardin has no equal...
...Chinoise reduces style to static set-ups and simple tracks ("The tracking snot is a political act," says Jean-Luc mystically); color is stripped largely to the primary range. Both decisions complement the didacticism of the young Parisian Maoists by omitting all but the starkest and most basic cinematic devices, also by reminding us constantly that we're watching a movie. Perversely, the lean movements and bright colors give La Chinoise charm and humor (not, I suspect, two of Godard's favorite critical adjectives) and make its polemicism entertaining...