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...into the gleaming airport of Kabul, the capital, or who drives the solid new blacktop highways. From those roads, however, other sights can be seen. Long caravans wind across distant valleys, as they have for centuries past. In the south, high-walled family compounds housing fierce Pathan tribesmen still stud the countryside. In the bleak mud houses of northern villages, young children often go blind weaving and knotting traditional Bukhara rugs. Nomad Kuchis seek fresh pasture land for their camels and fat-tailed sheep on the desolate plateaus, as chill winds whistle down from the snowy summits...

Author: /time Magazine | Title: Afghanistan: History v. Progress | 9/20/1968 | See Source »

Going in Profile. In 1946, Mitchum came into style. "After the war, suddenly there was this thing for ugly heroes," he says, "so I started going around in profile." Since then, the Mitchum legend has suggested that 5 Card Stud would be an apt title for his autobiography. By reputation, he can hold his liquor better than Dean Martin, and has had as many boudoir invitations as Frank Sinatra. Yet he has remained married to his first wife for 28 years. Though worth at least $5,000,000, he lives in a comparatively modest, four-bedroom, ivy-covered house...

Author: /time Magazine | Title: Actors: Waiting for a Poisoned Peanut | 8/16/1968 | See Source »

...rousingly played by Beau Bridges, decides that the only way to keep the home fires burning is to fire up Ivy with a romantic interest. He recruits Poitier with the threat of exposing his illegal gambling operation. Says Sidney: "What makes you think I'd be a good stud?" Grins Beau: "All spades are superior at that sort of thing." Poitier naturally falls for Ivy, and they bounce from bed toward bridal suite, strewing their path with petals of social commentary...

Author: /time Magazine | Title: Cinema: For Love of Ivy | 8/2/1968 | See Source »

...pulls are acting on them. The working reality they have made for themselves comes dangerously close to cracking, filmed by Chabrol with the violent surrealism of a nightmare. Competently handling guests at party, Chris suddenly finds himself virtually assaulted by a grotesque woman who knew him as a Riviera stud. Chabrol distorts the sound, the background suddenly jumps from people in the room to a back projected screen of people in the room. The objective reality of the camera has shifted imperceptibly to the subjective perception of an unstable mind. Similarly, Paul, ambiguously scarred by the opening accident, strives...

Author: By Tim Hunter, | Title: Claude Chabrol's The Champagne Murders | 8/2/1968 | See Source »

...form of castration. Speed and performance, or a sense of male power, are blatantly stressed in automobile commercials. Cars become wild animals or fish Wildcat, Impala, Cougar, Stingray, Barracuda. When a man slips behind the wheel humming "Only Mustang makes it happen," he, too, becomes a big ripsnorting stud. Ridiculous? Well, whoever heard of a car called the Aardvark or the Pussycat...

Author: /time Magazine | Title: Television: . . . And Now a Word about Commercials | 7/12/1968 | See Source »

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