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Like Elizabeth R, The First Churchills, The Forsyte Saga, and other impressive British productions, Vanity Fair has been lavishly, even beautifully produced. Susan Hampshire, who earlier played Sarah Churchill and Fleur Forsyte, completes her collection of scheming bitches with Becky Sharp, the archetypical schemer. Hampshire manages to be both alluring and repelling, a hothouse feline with a tiger's claw. Always fascinating, she ought to be placed on the list of protected species...

Author: /time Magazine | Title: Show Business: Viewpoints | 10/16/1972 | See Source »

...viewer, no doubt like the star himself, keeps expecting his speeches to end in a song. Gorgeous sets, an even more gorgeous Anna (Samantha Eggar) and a brood of cute Oriental brats seem equally out of place in a show that is nothing more than the standard TV saga of the dumb daddy, the smart mamma and the smarter kids who walk over both of them...

Author: /time Magazine | Title: Show Business: Viewpoints | 10/16/1972 | See Source »

...policies and killing his opponents as a stalling device, knowing that once he had failed, there would be nothing remaining for him in the world. Remembering Kissinger, with his fierce hatred of ideology and revolution, it is easy to imagine the final irony: future historians recording the bittersweet saga of a brilliant man who fought the progress of history and sanctioned the murder of innocents to preserve the obsolete ideals so precious...

Author: By Arthur H. Lubow, | Title: Kissinger: The Uses of Power | 10/2/1972 | See Source »

Godfather. The best thing around, and one of the best in a long time. Francis Ford Coppola's film doesn't really come clean on the roots and important effects of the Mafia, but its view of upper-level machinations is true enough, and its family saga moving. And the final statement--that the corporate Mafia, like corporate America, is hell--is hard to fault. Impeccably cast and acted...

Author: NO WRITER ATTRIBUTED | Title: Boston | 9/28/1972 | See Source »

...rigorously simple and familiar saga, The Emigrants is made eloquent through the tone and the telling. Director Jan Troell gives life and substance to what Willa Cather called "the precious, the incommunicable past." Indeed, at its best, The Emigrants has the same feeling for landscape and incident (a man proud of a pair of new black boots, a death and burial at sea) that glistens in Cather's best work...

Author: /time Magazine | Title: Cinema: First-Class Passage | 9/25/1972 | See Source »

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