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...prose style of most good American narrative films. Since the caper gives events a trap-like structure, without closing out the growth of characterization, Ballard's lights make the settings eloquent without making them overbearing. When Cook is shot by his wife, he falls where his apartment's worn carpet catches streetlight. A parakeet screeches over the punk's fallen body, and the scene and the sound and Cook's tortured look express the squelching of a small man's daydreams...

Author: By Michael Sragow, | Title: Kubrick in Context | 3/16/1972 | See Source »

Nixon has hinted he might have some thing to say about the talks he has had with Chou that evening. So there is a little extra eagerness as the troops trudge up the long red carpet...

Author: /time Magazine | Title: The Nation: The President's Odyssey Day by Day | 3/6/1972 | See Source »

Nothing could mar the coverage of the landing at Peking's airport. Undramatic in itself, the event nonetheless had something of the excitement of the first landing on the moon. Would the Chinese roll out a red carpet? Would Chou ride in the President's car? The symbolism of these seemingly minor questions of protocol was obvious on the home screen, briefly lending the proceedings high suspense...

Author: /time Magazine | Title: The Press: China Coverage: Sweet and Sour | 3/6/1972 | See Source »

...President's air of exhilaration was apparent even before the helicopter lifted his party off the White House grounds to begin the 11,510-mile journey to Peking. As he and Pat walked past a score of congressional and Cabinet leaders in an unusual red-carpet sendoff, Nixon repeatedly poked officials jovially in the ribs, bent close to whisper remarks that newsmen could not overhear, laughed at the banter. Yet he was restrained as he described his mission's goal to some 8,000 spectators, including 1,500 schoolchildren bused into Washington for the occasion. "We must recognize...

Author: /time Magazine | Title: THE PRESIDENCY: Now, in Living Color from China | 2/28/1972 | See Source »

James, Edel concludes, was always on the side of civilization: the "illusions" of order. But not, he argues, out of moral fussiness, as anti-Jacobites imply. To James, looking for the "figure in the carpet," life was a terrifying un known in the end, redeemed only by man's two contradictory passions: to establish order, then to risk that order in acts of love...

Author: /time Magazine | Title: Books: The End of an Epic | 2/14/1972 | See Source »

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