Word: partings
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Dates: during 1970-1979
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...publishing the results, Ifju Kommunist placed a large part of the blame on both the school system and the news organs for their neglect of history and the humanities in general. But to some outside observers, the situation seemed to confirm another phrase from the prolific pen of Marx: "All great historic facts and personages recur twice-once as tragedy, and once as farce...
Unfortunately, the director never does get around to telling the story of either character's personal apocalypse. Instead, he uses part of Willard's river journey as a pretext to unveil a series of large-scale, self-contained set pieces-an impersonal tour of the war front. Though these sequences do not add up to a movie, they are feverishly imagined and brilliantly shot (by Bertolucci's favorite cinematographer, Vittorio Storaro). Indeed, the first of these war scenes may be the most spectacular battle ever created for a film. With a megalomaniacal officer (Robert Duvall) leading...
Perhaps if Coppola had succeeded in his efforts to recruit a star for the part, Willard might have commanded an audience's interest and empathy by sheer force of personal magnetism. Having no star, the director tried a more desperate solution: he commissioned Journalist Michael Herr (Dispatches) to write a narration that attempts to fill in Willard's personality ex post facto on the sound track. That narration-alternately sensitive, psychopathic, literary, gung-ho and antiwar-is self-contradictory and often at odds with Willard's behavior. It does not establish the protagonist as a credible figure...
...night you find them, on museum steps, in parks and markets, along waterfronts and under arcades. The groups have antic names like the Tarmac Trio, Three-Part Invention and Dynamic Logs. Mimes, jugglers and fire-eaters often join in the act. Not far behind them come the hot-dog vendors and balloon men. The minstrels provide the nation's most colorful, if casual, summer musical diversions...
Silent, muffled in form, tinged with the pathos of the discarded chrysalis, George Segal's plaster figures have kept their place on the edge of modernism for the better part of 20 years. They have also shown how art changes one's reading of other art. In the early 1960s, when Segal -the son of a New Jersey chicken farmer -first emerged as a sculptor, he was identified with Pop art. This happened because some of his tableaux had an aggressive, urban character and used real props: stacks of oil cans, winking beer neons, even the inside...