Word: though
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Dates: during 1970-1979
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...talent for fusing ideas with the diverse demands of big-budget entertainment, Coppola was the only real candidate to make the definitive film about Viet Nam. Apocalypse Now promised to go beyond the narrow scope of Coming Home, beyond the wrenching drama of The Deer Hunter. These promises, though broken, can still be seen in the film. Like other legendary movie mishaps, from D.W. Griffith's Intolerance to Bernardo Bertolucci's 1900, Apocalypse Now is haunted by the ghost of its creator's high ambitions...
Unfortunately, the director never does get around to telling the story of either character's personal apocalypse. Instead, he uses part of Willard's river journey as a pretext to unveil a series of large-scale, self-contained set pieces-an impersonal tour of the war front. Though these sequences do not add up to a movie, they are feverishly imagined and brilliantly shot (by Bertolucci's favorite cinematographer, Vittorio Storaro). Indeed, the first of these war scenes may be the most spectacular battle ever created for a film. With a megalomaniacal officer (Robert Duvall) leading...
...Saskatchewan, Diefenbaker won fame as a crack trial lawyer, before winning a long sought seat in the House of Commons in 1940. As Prime Minister he urged increased independence from the U.S., to be accomplished largely through the development of Canada's natural resources and the Arctic north. Though an unwavering antiCommunist, he detested McCarthyism and promoted trade with China and ties to Cuba. Criticized for running a one-man show, "Dief the Chief was eventually defeated by Liberal Lester Pearson, partly because he refused to arm Canada's NATO force with U.S. atomic weapons. Elected to Commons...
Most of the performers are young, though an occasional patriarch emerges, like the banjo-playing retired executive vice president of Filene's department store in Boston. Some are music students or card-carrying professionals. Others are moonlighting (or sunlighting) engineers, carpenters, bookkeepers. Among the assortment on this summer's scene...
...impure medium that could easily become cluttered with props and set dressing. Segal is no formalist, but his sense of the abstract underpinning of sculpture cuts down on what might otherwise have become a tough-but-tender street sentimentality. He is, as the catalogue suggests, a "proletarian mythmaker," though not in a political sense; and no other sculptor working in America today has done more to revive the human figure as a subject...