Word: starke
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Dates: during 1970-1979
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...world than he did to his own people. Many Germans saw him not as a world statesman but as an erratic politician who was subject to spasms of lethargy and drink-fueled melancholy, who talked aimlessly of quitting after suffering electoral setbacks. Germans who preferred their leaders to be stark (strong) were bothered by his indecision and inability to keep his political house in order...
...Providence Journal-Bulletin's Jack White, 31, who broke details of President Nixon's minuscule income tax payments in 1970 and 1971. Although his scoop was the first in a series of revelations about questionable presidential tax deductions, White's access to confidential returns was a stark violation of Internal Revenue Service regulations; White has refused to say how or where he secured the Nixon returns...
Robert Duvall, a fine actor shipwrecked here, plays the same part that Lee Marvin played in Point Blank; indeed, both movies were adapted from Richard Stark thrillers. The supporting cast is spiked with faces familiar from other criminal excursions (Elisha Cook, Marie Windsor, Emile Meyer, Sheree North). Their presence was probably intended to be an affectionate homage, but just increases the enervating familiarity of the entire enterprise. Robert Ryan, looking worn (this was one of his last roles), appears as Mr. Big, who is constantly being irritated by his young wife, the egregious Joanna Cassidy...
...when his first major design, the Yale Art Gallery, was constructed. After that, his influence-as seen in the designs of such disciples as Charles Moore and Pop Architect Robert Venturi-became enormous. Kahn was primarily concerned with principles of order and light. His work featured the use of stark, geometric shapes and an emphasis on natural light and the moods created by it. He also incorporated such traditionally concealed "servant" elements as ducts, pipes and storage space into visible design. Slight and white-haired, with a poetic regard for his materials ("A brick is happy when...
...frame provided by the famous gold curtain. The audience sees the vast set as it enters-just as it would in Hair. Musically, the opera is a series of epic climaxes; there is, for instance, no overture. Except to the most committed Berlioz aficionado, part one is a stark musical landscape with none of the lyricism that is to follow. To compensate-and in effect illustrate the fall of Troy-Wexler and Director Nathaniel Merrill have conjured up six full scene changes spinning around on the turntable. Complete with a dazzling procession, the horse, plus three more huge icons...