Word: chamberlain
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Dates: during 1970-1979
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Along this unusual journey he once welcomed Neville Chamberlain's attempt to win peace by accommodation. It was a rude but enduring lesson for Nitze. He became the insistent intellectual scold arguing for greater American strength. He directed policy planning at the State Department, served eight years in the Pentagon, including a term as Secretary of the Navy, then was a SALT negotiator for five years in Geneva. Today, at 72, Nitze is a large part of the firepower against SALT...
...another, Sonnenberg handled the p.r. needs of CBS, Philip Morris, David Sarnoff, Lever Brothers, Samuel Goldwyn, Pan Am, Squibb, Pepperidge Farm and others too numerous to count. A prodigios host and incessant partygiver, he was Manhattan's equivalent of the "talking chief on other, Polynesian islands-the chamberlain who enunciates the real chiefs dicta to the tribe, or, as he put it himself, "I supply the Listerine to the commercial dandruff on the shoulders of corporations." As an American success story, Sonnenberg's was cast in the old epic mold...
...story at Brown is coach Joe Mullany, once a Los Angeles Laker steward when Wilt Chamberlain played center. Mullany has put together a disciplined team in the model of Pete Caril's squads at Princeton, but with less talent. The Bruins are a defensive club, permitting their opponents just 65 points a game compared to Harvard...
...film increasingly silly. Weir gives up on making the characters anything more than symbols, points on the line between evil white and primitive good. A few scenes of the ghetto in which the Aborigines live are lifeless, the city has no character, and the film disintegrates into stock effects. Chamberlain discovers a secret Aborigine city beneath Sydney, and learns that an ancient white civilization was destroyed by a giant tidal wave, and that another one is due very soon. Some sort of eternal justice will destroy the white man's injustice. At the very end of the film, Chamberlain escapes...
...view of the apocalypse is enough to have an impact. But aside from the fact that one never sees the wave hit Sydney, the reasons given for its appearance aren't too terribly plausible. There is a magnificent scene which sets up the wave, the highpoint of the film: Chamberlain is in his car and daydreams that the wave has hit and as he looks outside he sees well-dressed pedestrians floating beneath the blue-gray water, groceries floating slowly upwards. But this scene occurs three-quarters of the way through the movie, and it is all downhill form there...