Word: shapely
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Dates: during 1970-1979
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...bums and tennis bums," says Tom Saunders, an old friend. "Tuck is a politics bum." But he knew what he liked and what he did not. Richard Nixon fell into the second category. As Tuck recalls it, the pair first met in a classic encounter that would shape their future relationship. While a student at Santa Barbara, Tuck was working for Congresswoman Helen Gahagan Douglas in her 1950 campaign against Nixon for a seat in the U.S. Senate. "There was an absent-minded professor who knew I was in politics and forgot the rest," says Tuck. "He asked...
Northeastern Minnesota, sometimes called the Arrowhead Country because of its shape, begins at the rugged Misquah Hills and Giants Range, a sharp granite ridge as high as 500 ft. To the southeast rises the Mesabi Range, a rocky belt that used to produce 82% of the nation's iron ore and still yields 63% in iron and taconite, the iron pellets sifted magnetically from huge loads of earth. Below the Canadian border stretch vast expanses of forests and lakes, a region of shaggy and pristine beauty. Timber wolves roam there. Moose can be seen feeding in the clearings. Sometimes...
...Harold Wilson and his party. Labor not only failed to pick up dissatisfied Tory supporters, it even lost some of its own. Labor's problem, it appears, is that the party is so racked by internal squabbling and irresolute leadership that it often seems to be in worse shape than the country...
Citizen Kane. Orsen Welles, Joseph Cotton, Agnes Moorehead. Maybe the great American movie. Welles plays a tycoon, modelled after William Randolph Hearst, whose spiralling climb to wealth and power is paralleled by his decline into emotional paralysis. This takes shape cinematically in ever deeper focus shots that oppress Welles ever smaller, ever less impotent and more isolated within the frame. Don't waste your time wondering about Rosebud (it is the name of his sled. Lost innocence, get it. Right, the only woman he ever loved was his mother) Orson Welles...
...artist. A short subject accompanying Playtime shows him to be generally observant and thoughtful, not only about his own film making but also about the world around him and the people with whom he shares it. Unfortunately, he lacks the artist's talent to mold and shape his insights into truly engaging works. This film-made in 1968 but delayed in release here until a satisfactory 35-mm. print could be made from his 70-mm. original-is almost as stupefying as his more recent Traffic (TIME, Jan. 1) and ranks with it as one of the truly excruciating...