Word: works
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Dates: during 1960-1969
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IATA's 23 North Atlantic carrier members will meet next week in Europe to work out a new fare structure. But many of the airlines are still sharply split over whether, how and by how much to change their prices. That leaves the transatlantic traveler as confused and unhappy as ever...
...desperation, Prague's purge-minded regime last week replaced the ministers of planning, finance, foreign trade and price control. The government also decreed that the five-day work week will be increased to six, apparently in the belief that production will rise proportionately. That is a dubious assumption. Visitors to Prague are assured that industrial sabotage continues unabated. Few Czechoslovaks seem to care that they themselves, and not the Soviet occupiers, are the first victims. They seem bent on committing slow economic suicide, which in its way is as tragic as the destruction of political freedom a year...
...chaos-but unjustly blames the Dubcek regime and specifically Sik, who is on indefinite official leave in Switzerland. The chaos is really the result of the repeal of the Dubček and Sik reforms, and of the fact that Czechs today commonly proclaim: "We are not going to work for the Russians." The Soviets, for their part, are doing nothing to help. They are withholding sorely needed credits until political "normalization" is complete...
...orthodoxy, the country's new rulers have ordered a return to highly centralized planning, and they have threatened loafing workers with "ideological training"-a euphemism for force. The government has brought in Yugoslav construction crews, Polish textile workers and Hungarian railroad men, and called on Czech workers to work "voluntary" weekend shifts to commemorate Lenin's 100th birthday next year. The notion ironically harks back to the freely given "Dubček shifts" that workers put in during their brief springtime of freedom. Otherwise, the occupation regime's tinkering with the economy has made the situation worse...
...charge, but everything has been changed forever. The last scene finds him huddled at home with his wife one night in front of the television set, staring at the screen, with impending doom etched into his face. This is one of those rare films in which all the elements work together. The performances seem the very stuff of reality, the color photography is beautiful without being demonstrative, and the music is both functional and original. Olmi's artistry is obtrusive, but always at the service of his material. On the basis of One Fine Day and two earlier films...