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...futuristic as his fashions. Standing fully erect, his 5-ft. 6-in., 138-lb. figure poised with a lithe dancers grace, he told the buyers and press: "A woman today can be anything she wants to be a Gainsborough or a Reynolds or a Reynolds Wrap." Then came a preview of the provocative choices ahead. First was a series of simple knit dresses simple except for the clear vinyl bands that saucily bared the navel and the underslope of the bosom. Nor were the bathing suits that followed any letdown. Clear vinyl was at work again to make them...

Author: /time Magazine | Title: Fashion: Up, Up & Away | 12/1/1967 | See Source »

Shortly before How I Won the War opened in Germany, Director Richard Lester attended preview screenings before student audiences in Munich, Berlin and Hamburg. Afterward, he debated the film on the stage with politicians and writers. The results, he remembers, were sometimes quite startling. "One politician began shouting that 'the film is an insult to my English comrades in arms who fought bravely against us, at which point the students in the audience began chanting 'Sieg Heil!' in unison." Such outbursts were the sweet sounds of success for Lester. "Getting these points of view...

Author: /time Magazine | Title: New Movies: Vaudeville of the Absurd | 11/17/1967 | See Source »

...humble screenwriter, I must take exception to your charge of plagiarism. The "run of dialogue" stolen from Jack Benny's mouth did not appear in the original screenplay of Waterhole #3 [Oct. 20]; it oppressed my shell-like ears for the first time at the press preview at Paramount Studios. Now I'm sure you must realize that an original screenplay goes through any number of "improvements" at the hands of its producers (three in this case), directors (I counted at least five the time I sneaked on the set), and stars. Therefore, I pass the mantle...

Author: /time Magazine | Title: Letters: Nov. 3, 1967 | 11/3/1967 | See Source »

...drove her to Maximilian's fur salon. And then, next thing she knew, there she was on the runway-two endless legs stretching up toward an encompassing smile, as Margie Lindsay, 14, daughter of New York's photogenic mayor, made her modeling debut at a press preview of Maximilian's new collection. Margie modeled coats of calf, lamb and otter ("Mink is for 20-year-olds," said the furrier) to fond applause before being hustled back to school. "She wanted to do it," said her mother. "I told her she'd have to ask her father...

Author: /time Magazine | Title: People: Oct. 13, 1967 | 10/13/1967 | See Source »

...preview of what the future may hold, New York City's Administration of Recreation and Cultural Affairs is staging a month-long display of 25 massive works by the most imaginative sculptors that its advisory committee could line up. A glittering concatenation of neon by Chryssa attracts commuters in Grand Central Station. Three giant dolls by Marisol face Central Park at 59th Street, black stabiles by Alexander Calder stand in Harlem, police cars parade through gigantic, candy-colored building blocks by Lyman Kipp in Central Park...

Author: /time Magazine | Title: Sculpture: Master of the Monumentalists | 10/13/1967 | See Source »

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