Word: snow
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Dates: during 1970-1979
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...result--a sort of grand multi-media functionally kinetic thesis--was a 27-student global tour, subsidized by Jaeger, led by Edgar Snow, author of "Red Star Over China." Though the first year's trip didn't get into China, its course impressed enough educators (especially those who grant academic credit to students) to warrant continuation...
...chill night sky over Cinecitta studios as Fellini filmed the movie's final scene. On a set as large as a football field (cost: $500,000), the city lay frozen -its Grand Canal solid ice (constructed from sheets of white plastic), the Rialto Bridge sagging under layers of snow. The scene represents the dying Casanova's final thoughts about the city of his youth. On signal from the director ("Go, Donald"), Casanova moves slowly across the ice, his black cloak fanned open by the night wind. He pauses, kneels down on the ice, his beaked nose like that...
...surrounds herself with the artifacts of restless desperation. But "Winter Places," the most effective piece in the program, says it all without using a prop. Although it is not clear whether the dancers braced against the cold are peasants laboring in a field or just people plodding through the snow, the sense of oppression here is very real. The work is made of fragments until the isolated images of the dancers become rapidly more systematic and simultaneous. The climax brings a kind of ghoulish march with the eyes of each dancer riveted to a demonic force, unseen by the audience...
...their best with the unique character of Russians - their glazed and hostile public faces that dissolve in private in almost alarming conviviality. Their sentimentality and love of children - the obsessive way in which a babushka watches a child in a playground to make sure its rump never touches the snow. Their alcoholism - vodka bottles come with tear-off metal tops, and the bottle, once opened, must be finished. Their chilling fear of strangers and even friends - the result of long experience with informers...
Ungar's picture of Hoover's snow-balling aggrandizement of power shows that the director's staying power derived from far more than his ability to blackmail those in higher office. Ungar traces the growth of Hoover's reputation as a top-notch law enforcement official and is careful to give him his due for FBI achievements that were within its charter. Ungar is more concerned with how one organization, with thousands of agents and a $500 million budget, can respond so automatically to the whims of its director. There are lengthy discussions about Hoover's fanatical desire to destroy...