Word: 40s
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Dates: during 1990-1999
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...seeming distracted. "His strength is that people think he's fighting for them," says a Democratic pollster. "If they ever think it's about him, he's dead." That day hasn't come yet: no one's polled his popularity publicly since October when it sank to the low 40s from a phenomenal perch near 70. But Minnesota pols think he's coming back, and his newfound reticence may have something to do with it. "I'm still myself...but I find myself not giving opinions on things that have nothing to do with government," he says...
...need bother mocking or pitying the Irish; they do such a good job of it themselves. Frank McCourt beautifully juggled contempt and sympathy in his memoir of growing up poor and wet in Limerick in the '30s and '40s, before squandering the goodwill he had accrued with the taint of 'Tis (it'll be a while before that sour screed is filmed). Parker, who did right by the Irish in The Commitments, has a go at the impossible task of adapting Angela's Ashes and trying to satisfy all those who loved the book so much that McCourt's painful...
...risk women in their 40s, ACOG still recommends a mammogram every one to two years and annually after age 50. However, a study released last week in the Journal of the American Medical Association brings into question the use of mammography in women after age 69. Researchers studied 10,000 women to try to determine whether annual mammograms provided enough benefit to warrant their use. The results showed, rather dramatically, that the gains in life expectancy for these elderly women were minimal. With some variation depending on the sample, only 1 death per 10,000 women is likely...
...Star; Brahms' First Symphony; Dvorak's Ninth; even Beethoven's Ninth. Rachmaninoff's Rhapsody on a Theme of Paganini had a nifty concept (a nightmare and a dream struggling for a sleeping child's soul), but it fell through, as did the revival of a segment prepared in the '40s by Salvador Dali; a few clips from it are shown...
John Irving's rural sprawl of a novel becomes, in his screenplay, a small epic with subtle strengths. The setting is harsh--a Maine orphanage in the early '40s, with war and sexual abuse looming--but the mood is warm and precise, as a flinty, laudanum-addicted doctor (the excellent Michael Caine) tutors his brightest charge (Tobey Maguire, the most watchful of young actors) to be his protege. Hallstrom, here as in My Life as a Dog and What's Eating Gilbert Grape, lets the characters carry the story without allowing the actors to push too hard. This...