Word: turned
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Dates: during 1970-1979
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Stinking buses, their passengers gaunt, pale and weary, jam the crowded streets. Drivers shout at one another and honk their horns as they turn the city's few escape routes into ribbons of steel. Smog smarts the eyes and chokes the senses. The scene is Athens at rush hour. The city of Plato and Pericles is in a sorry state of affairs, built without a plan, lacking even adequate sewerage and sanitation facilities, hemmed in by mountains and the sea, its 135 sq. mi. crammed with 3.7 million people. Even Athens' ruins are in ruin: sulfur dioxide eats...
...this presents American Ambassador Malcolm Toon with a seemingly insoluble problem. He hopes the seven will leave voluntarily, but that appears as likely as the prospect that the Soviets will let the son out of prison and the families emigrate. On the other hand, the U.S. can hardly turn these refugees out into the street. The plight of the Vashchenkos and Chmykhalovs dramatically illustrates the condition of thousands of dissenting Protestants who want to quit the U.S.S.R. so they can practice their faith without government restrictions, most notably on the religious education of their children. In Kiev last month, newly...
...half ago, has no investigators to interview witnesses or do any other legal legwork. The prosecutor must assent before a private lawyer can actually argue a criminal case in court, but some are willing just to make a statement of the case at the beginning of the trial and turn the rest over to the lawyer hired by the victim's family. Kentucky Attorney General Robert Stephens sees no legal or ethical barrier, but former U.S. Attorney General Edward Levi, now a law professor at the University of Chicago, has some doubts. He warns that the judge must...
...moments. Truffaut picks up Antoine, now a novelist, on the eve of his divorce from Christine (Claude Jade), whom he courted in Stolen Kisses and married in Bed and Board (1970). Antoine is already in hot pursuit of new prey. As usual, nothing in the film turns out as first expected. By the t'me it is over, Truffaut has cagily shifted the audience's perspective on all his characters. A couple who appear to be lovers turn out to be siblings. Antoine's plot for a new novel turns out to be a major clue...
This is classic Truffaut technique, but despite uniformly vivid performances, the film never attains its promised emotional complexity. The major difficulty is the director's determination to turn Love on the Run into a retrospective of the entire Doinel cycle. Not only do old players reappear, including Marie-France Pisier of Love at 20 (1962), but so do clips from the other films. It may be a laudably ambi tious notion to refract the past through the present in such purely cinematic terms, but there is too much material to be digest ed in one movie. Too often Truffaut...