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...Belarusian forest and escape the Nazis. Zwick was inspired to document this unique and moving narrative after a friend showed him an obituary in the New York Times for Zus Bielski, one of the brothers. “It was a story of a familiar moment but a very unfamiliar story within that moment,” Zwick said. “That they were reluctant heroes, that they were complex, ordinary, unsophisticated men who discovered something fine, even magnificent in themselves...that to me is a very inspiring notion that people can rise to occasions and discover resources that...
...Monsterpiece Theater, and in Peanuts Snoopy imagined himself as "Alistair Beagle." Cooke died in 2004, at 95, and would have been 100 this past Thursday. In celebration, Masterpiece is running an hour-long biography, The Unseen Alistair Cooke, this Sunday, with reruns throughout the week. Even for those unfamiliar with Britain's genial emissary to the U.S., the show (produced and directed by Rachel Jardine) is worth TiVoing for its fond but not uncritical portrait of a man who knew everybody, remembered everything...
...That's new. Until recently, the idea of Japanese values conjured up little more than a picture of workaholic company drones. But throughout the world - even in places where Japanese colonialists once unleashed brutal wartime campaigns - the world's second largest economy has suddenly been thrust into the unfamiliar position of exemplar. Developing countries such as Vietnam are studying how Japan refashioned its war-ravaged economy into a technological powerhouse that still maintains its cultural identity. Industrializing nations are looking for ecological guidance from a place that has managed to become an economic giant while still embracing a conservationist ethos...
...unfamiliar with proverbial belt-tightening, but given the current crisis we will need to go significantly further,” Smith wrote in a statement e-mailed to FAS faculty and staff last week...
...earliest operas still surviving today. “L’Ormindo”—presented last weekend at the New College Theatre by the Harvard Early Music Society—was first performed in Venice in 1644. As a production, it may seem unfamiliar to even the most ardent opera-goer, and a revival of an obscure non-blockbuster can’t avoid a certain degree of controversy and skepticism. Yet, it springs from a seminal period in operatic history, and its synopsis is guaranteed to satisfy a tradition-seeking audience. Opera companies are bolder...