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Authorities decided to bury the dead on the mountain where they had died. The survivors went home to Montevideo and picked up life as best they could. At first relatives of the dead were morally outraged that the bodies had been desecrated by cannibalism. From the viewpoint of Christian ethics, though, it was not certain that the men on the mountainside had sinned by eating the flesh of their dead companions. By and large, Roman Catholic moral theologians agreed that the act was justified under the circumstances. A few perhaps extravagantly, even likened the situation to the central...

Author: /time Magazine | Title: The World: Cannibalism on the Cordillera | 1/8/1973 | See Source »

Acting also figures significantly in the success of The Godfather--by far the year's most interesting and accomplished American film. You might wish that the filmmakers had taken a more objective viewpoint than Mario Puzo, and shown what really happens to the middlemen and junked-up patrons of the Mob's cathouses and clipjoints. But the detailing of inner Mafla workings is vivid and accurate, as is--more importantly-- the Corleone family chronicle. This comes less from plot incident than from the perfect characterizations of Brando's Godfather, and At Pacino, James Caan, and Robert Duvall as his natural...

Author: By Michael Sragow, | Title: Seven to Place, Four to Show | 1/4/1973 | See Source »

...feelings of cooperation finally coalesced around the Gulf Oil issue and the eventual takeover of Massachusetts Hall last Spring. Anti-imperialist action, after all, was something that everyone--black, white integrationist, nationalist--could support, and no matter what one's political viewpoint, everyone was invited to participate in the fight against Gulf. It was the first time that integrationists and nationalists freely spoke with one another, the first time in years that blacks and whites have marched together...

Author: By Henry W. Mcgee. iii, | Title: The New Black Mood | 10/25/1972 | See Source »

...permieatod with their consistent actions, and quick observances of the world they walk through, that we feel we are trekking into the heart of the subject matter while we watch, and can make analytic comments only after checking variant histories. Troell adheres throughout to his imagined 1844-47 viewpoint, even while he skirts the chance of making his characters seem silly to jaundiced twentieth century eyes and ears. He is a tremendously gifted artist, selecting and molding even the most casual event, and his method works...

Author: By Michael Sragow, | Title: "Get Thee to a Land That I Will Show Thee" | 10/24/1972 | See Source »

James Dickey wrote his book from the viewpoint of Ed Gentry, a middleaged commercial artist cognizant of his own limitations, living a comfortable life in suburbia with a wife and some but occasionally moved to greater passion than the bounds of his society normally permit His friend Lewis Medlock, is a wealthy landlord (by inheritance and physical-conditioning freak who compensates for the colorlessness of his contemporary existence by making frequent sojourns into nature. Gentry sometimes accompanies him. And the plot of Deliverance centers on one such trip...

Author: By Michael Sragow, | Title: Boorman's Beauty | 10/7/1972 | See Source »

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