Word: caked
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Dates: during 1970-1979
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...once more shown that its oft-stated non-sectarian position is merely a veneer to cloak an undisguisable anti-Jewish religious bias. The guilty party this time is the University Food Services. Today, in celebration of an ethnic holiday of a religious source, students were served "St. Patrick's Cake" during lunch. On Monday night, however, on a Jewish religious holiday, Purim, no effort was made to celebrate that festival with Hamentashen. Although an admittedly trivial case, this incident underscores those of this year's Yom Kippur registration and Christmas Dinner. What makes it especially insulting is the maintenance...
Explaining this phenomenon, one student says: "We know what the real stuff is like, and we resent what they present to us in disguise." Happily for most, three short months will find them back' in their homeland, where they will be able to have their cake...
Just when answers seem forthcoming, they are neatly sidestepped. When Cathy Cake (Jessica Harper), the seductive and immorally ambitious, aspiring starlet confronts The Boy Wonder, demanding to know why he has been reduced to such a pitiful ghost of his former self, he glibly replies that he is not scared of anything. When Miss Cake presses for an answer, an explanation is anticipated. But instead of pouring out his story, The Boy Wonder breaks down in tears and the mystery remains. Given Byrum's weakness for cliches, perhaps it is better that he avoids giving an overt answer. Such...
...emphasizing performances and not technical effects. And the performances are for the most part first-rate, the characters evoked with feeling. Veronica Cartwright effectively conveys the pathetic depths that Harlene has fallen to and Jessica Harper carries off a difficult part as the seductive and seemingly China-fragile Cathy Cake who is tough as nails inside. Harper bears an uncomfortable resemblance to Mia Farrow and occasionally lapses into her mannequin-like posturing...
...rise with a magic flute." The Boy Wonder's manic need to make films is a form of sexual displacement--perhaps it is the need for gratification that drives him to make "five-and-dime films" when he has been forced from "real films." In a confrontation with Cathy Cake he is made to face the full reality of his impotence. When he does in fact, through the guiles of the seductive Miss Cake, get his "rope" to "rise" he simultaneously deflates his compulsion to make films. Nonetheless, Dreyfuss's success is not completed, for while his inability to cope...