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...Robert Morley). Though Hughes takes pains to paint Cromwell as a sexually vigorous masculine dynamo (we even have one shot of him the bracing a long spear), there is more life and sexuality in the tender parting of Charles and his queen (Dorothy Tutin) than in either of the cardboard domestic scenes between Oliver and the vapid Mrs. Cromwell. I say either, as the camera only takes us into Cromwell's country estate once at the beginning and once toward the end of the film. In between, he is in terms of motivation but a robot; the fluid shifts...

Author: By James M. Lewis, | Title: Films Cromwell at the Pi Alley Theatre | 1/13/1971 | See Source »

...They are all puppets. Manipulated and animated by two men, Francis Peschka and Gordon Murdock, both 50, they have been attracting enchanted, totally devoted audiences at the 24-seat Little Players cheater for over a decade. To most of their fans, the Standwells are far more real than the cardboard actors of Broadway. Mail comes addressed to the puppets: mash notes to Mademoiselle, formal thank-yous to Isabelle, extravagant fan letters to Elsie. Bette Davis used to telephone the theater regularly for reservations, asking for "Miss Lump, please...

Author: /time Magazine | Title: Show Business: Mini Music Hall | 1/4/1971 | See Source »

...characters in Village Wooing are both well played. Natalie Lombard as the vacuous showgirl gives a good rendering of a cardboard role, and Martin Andrucki is sufficiently pompous as the guidebook writer. The acting in Fables, on the other hand, is an almost unmitigated disaster. Delia Sang gave a good performance in the first and third fables, but almost everybody else was uniformly awful. As bad as the script was, there were places, like the fourth fable, where the acting made it worse. But by then, no one gave a damn...

Author: By Michael Ryan, | Title: Theatre Obscure Shaw | 10/24/1970 | See Source »

...that, the viewer who can wade through an implausible situation, a clutch of cardboard dropouts and painful patches of dialogue will discover a film that is curiously sensitive and affecting. Screenwriter James Bridges (The Appaloosa, The Forbin Project) makes his debut here as a director; his sympathetic approach to the principal characters and an admirable sense of directorial pace eventually overcome his stereotypes and his tin ear for conversation. Even so, Bridges could not remotely have succeeded without engaging performances from Miss Hershey (the willful teen queen from Last Summer) and Sam Groom and Collin Wilcox-Horne...

Author: /time Magazine | Title: Cinema: Rent-a-Womb | 10/19/1970 | See Source »

...well as immunity from such outside contaminants as sunlight. At first the scientists objected to the idea of working in windowless labs, Franzen recalls, "but when we checked into the labs in which they were working, we found that most of them had covered up the windows with cardboard." From the scientists' point of view, the best things about the building are the ingenious way in which Franzen supplies every lab with utilities and the ease with which any lab can be converted to another...

Author: /time Magazine | Title: Art: The Campus: Architecture's Show Place | 9/21/1970 | See Source »

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