Word: roberto
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Dates: during 1970-1979
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...mere polemics, however, is apparent from the opening scene, in which we are confronted by a slow-motion close-up of a brutal beating by vicious grunting thugs wielding chains and pipes. The violence, excerpted from a later sequence in the movie, immediately propels us into the career of Roberto Barrera, a national union leader who makes himself the subject of a mock kidnapping so as to elicit worker sympathy for himself at the upcoming union elections. Through a series of flashbacks, that film shows Barrera's rise from bomb-throwing revolutionary to corrupt union boss, from a principled, uncompromising...
...virtually at the beck and call of the government. Throughout the spectacularly popular decade of Peron's regime, and throughout the military rule that followed, Argentine workers lost their autonomous leaders, many of whom made personal fortunes through their secret agreements with frightened employers searching for a tamed workforce. Roberto Barrera could be one of any number of present-day labor leaders in Buenos Aires, a number of whom have been assassinated in the last several years by urban guerrillas denouncing them as "traitors." So, for the average Argentine, the fact of corruption is nothing shocking. Rather...
...Roberto Rossellini's Voyage To Italy (1953), Friday, May 31, 7:30 and 9:30 p.m., at room...
Even after their decision, many of the survivors could not bring themselves to eat human flesh. Finally, a medical student, Roberto Canessa, cut some matchstick-sized slivers from one of the bodies, placed them on the battered aluminum roof of the plane to dry in the sun and then, to prove his resolution, forced himself to eat one. All but two of the others eventually followed his lead. Despite their cannibalism, the boys evolved a careful set of rules to govern their conduct. Food was still rationed, and a series of priorities developed to determine which bodies were...
...production puts Sills back into English history, where in recent years she has triumphed in the Donizetti trilogy devoted to three queens-Elizabeth I (Roberto Devereux), Maria Stuarda and Anna Bolena. I Puritani was the last opera Bellini wrote before he died in 1835 at age 33. Its graceful and ornate vocal writing actually suits Sills' light voice better than Donizetti's heavyweight scores. This is music to float jewels on. Sills' succession of bravura displays in the mad scene ("Qui la voce sua soave ") is like a string of emeralds, each deeper and more lustrous...