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Rifkin's treatment of history best illustrates the deficiencies of a book to which any reader alienated by modern society would gravitate to as an answer to his problems. In one tidy half-page paragraph, Rifkin summarizes the historical theories of Toynbee, Spengler, Ortega y Gasset and Marx, allocating each scholar one sentence in this day of scarce resources. His next paragraphy begins...

Author: By Laurence S. Grafstein, | Title: From Usable to Entropic | 10/3/1980 | See Source »

This gloomy scenario is not the prognosis of some latter-day Spengler but of Walter Levy, 69, perhaps the world's best-known independent oil consultant. Warns Levy in the current issue of Foreign Affairs: "A series of future emergencies centering around oil will set back world progress for many, many years...

Author: /time Magazine | Title: Business: Gloomy Oil View | 6/30/1980 | See Source »

...will go to that kids will like," is the rather convoluted way that Director Richard Donner, 48, explains Superman's appeal. "No," says Producer Ilya Salkind, 31, who often disagrees with Donner. "It's an adult picture that kids will see." No, again, says Co-Producer Pierre Spengler, also 31, who sometimes disputes...

Author: /time Magazine | Title: Show Business: Here Comes Superman!!! | 11/27/1978 | See Source »

...been constructed in Italy. At one time a money shortage almost caused production to stop. Marlon Brando had walked off with his $3.7 million for playing Superman's father, but Stamp was told that he could not be paid on time. Tempers were frayed, and Donner and Spengler stopped speaking to each other. With the film in the can and a potential fortune in sight, the old bonds have been renewed. Donner, for his part, is only afraid that there has been too much public buildup. Says he: "It's like a comedian getting up before a houseful...

Author: /time Magazine | Title: Show Business: Here Comes Superman!!! | 11/27/1978 | See Source »

...whose first big-budget film and first film in English this is, gives an appropriate quality of ponderous slap stick to the first half of the movie. There is a lot of blubbery smooching between Hermann's wife and her lascivious cousin, a bulky red-bearded artist (Volker Spengler). Hermann ignores this, but giggles apprehensively about the infant Nazi Party: "The National Socialists are against the Socialists and also against the Nationalists." In an odd scene witnessed by the distracted chocolate manufacturer, Brownshirts throw bricks at the shopwindow of a Jewish butcher, but the bricks do not seem...

Author: /time Magazine | Title: Cinema: Doubled Up | 11/6/1978 | See Source »

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