Word: widowing
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...years of respite, Mao's second self-inflicted economic catastrophe, the Cultural Revolution of 1966-69, saw many of China's industrial managers humiliated and intimidated by the wild-eyed Red Guards. More recently, the so-called Gang of Four, which includes Mao's radical widow, tried to sabotage exports by demanding that all recovered oil be used at home...
...many other little pleasures are playing a middling game of tennis and jogging up to a mile and a half along the Potomac footpath three times a week at 6:30 a.m. He also reads voraciously and fast. Recently he has consumed the biography of Mao's widow, Chiang Ch'ing, Menachem Begin's autobiographical White Knights and Jules Witcover's Marathon, the story of Jimmy Carter's pursuit of the presidency. Says Blumenthal: "I wanted to see how they got together...
...continue their trapeze act. The picture opens with Abel discovering the brother's suicide. This places him under police suspicion because a number of people he has known have died similarly violent and mysterious deaths. While the cops investigate, Abel takes up desultorily with his brother's widow (Liv Ullmann). They are befriended by an acquaintance of their youth, now a doctor (Heinz Bennent) doing some sort of secret research at a nearby hospital. Since he carries himself in the manner of Helmut Dantine when he was playing Gestapo officers some 35 years ago, one can guess that...
...getting a little long in the tooth to be an ingenue," says Kathryn Crosby, 44. But Bing's widow finds acting a catharsis. "Twenty-four hours a day sounds about right," says Crosby, who made a dozen or so films before her marriage in 1957. This week she sets out on a nationwide, 65-city roadshow tour of the two-character Broadway hit Same Time, Next Year. Her role: Doris, a faithful adultress who for more than two decades has an annual meeting with the same lover. "If Betsy Palmer gets tired of playing Doris on Broadway...
...this lies in its novelty, not in its depth. For in all her feminist enthusiasm, French director Agnes Varda fails to delve beyond the difficult circumstances of these women's lives to probe into their hearts and psyches. The resolutions of the two journeys are too simple--the widow cautiously remarries and finds happiness, while the singer leaves her domineering husband and, lo and behold, also finds happiness. There is an important moral here: that cutting loose entails pain and uncertainty, but that it can work. But Varda ties the free-floating ends back up just a bit too swiftly...