Word: umbertos
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Dates: during 1970-1979
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...offset the same kind of voter distrust that has generated anti-Washington feelings in the U.S. presidential primaries, Italian parties for the first time signed up a host of non-political "personality" candidates. The Christian Democrats nominated Nuclear Physicist Luigi Broglio, respected Banker Gaetano Stammati and Auto Executive Umberto Agnelli. Agnelli, 41, is the younger brother and second in command to Fiat's Gianni Agnelli, Italy's leading industrialist. (Gianni had considered running as a centrist Republican Party candidate but bowed out instead after Umberto filed...
...message has been eliminated, Emmanuelle II is rather more upsetting than its predecessor. The human relations portrayed in the film are, if anything, more degrading and more empty than those of the first version. Emmanuelle, played (more or less) by toothy, leggy Sylvia Kristel, and her husband, played by Umberto Orissini, have agreed they are free to do whatever they wish, so long as they don't fall in love with anyone else. Where the dynamic tension in Emmanuelle I was provided by the breakdown of Emmanuelle's inhibitions, the only tension in this film comes from outsiders who aren...
...King Umberto II of Italy, 72, was ousted by popular vote after World War II and a reign of 34 days; he lives in Portugal. His son Vittorio Emanuele, 39, is a successful businessman based in Switzerland; he is married to a commoner, Marina Doria, and has two children...
...soon be added to the environment. Studies have shown that the extraction of oil from shale and gas from coal-processes that could eventually be used on a large scale-produces polycyclic hydrocarbons, compounds that can cause cancer in man. Says the National Cancer Institute's Dr. Umberto Saffiotti: "Cancer in the last quarter of the 20th century can be considered a social disease, a disease whose causation and control are rooted in the technology and economy of our society...
...company. The contrast between this thought-provoking silence and the numbing intrusions on her spirit that we have witnessed in the film's opening sections could not be more vividly evoked. In a directorial career devoted largely to exploring the ways poverty assaults dignity (Shoeshine, The Bicycle Thief, Umberto D), De Sica may have made more forceful statements, but never a more poignant one than he does here with the exquisite assistance of Florinda Bolkan...