Word: carnalities
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...camera has practically created a genre as the recording angel of disintegrating minds-the corroborating witness to the psychopathology of everyday life. Carnal Knowledge, Husbands, Straw Dogs all in different ways perform the basic ritual of the '70s film. Once an Ingmar Bergman specialty, the perfectly average man going a bit mad is now a stock character, taken for granted. Similarly, one no longer bothers to speak of the theater of the absurd as if it were an exotic fringe entity. The achievement of the Madness Revolution has been to make Beckett, Ionesco and Genet seem oldfashioned...
KING KONG's appeal runs deeper than its individual facets would seem to justify. The plot never transcends the ape-meets-girl, ape-gets-girl, ape-loses-girl framework. We have to assume the purity of Kong's love for Ann. Anything more carnal raises insuperable anatomical difficulties. Except for the deadpan delivery of a few antique cliches, the acting is entirely forgetable. Fay Wray screams very well, but the range of her talent ends at the top of her register. Special effects do retain much if not all of its wizardry. But the movie's charm comes from more...
Bridge Over Troubled Water, the biggest-selling pop record of 1970, was the last joint effort by the two young singers Simon and Garfunkel. Everyone knows what Art Garfunkel has been doing since then: acting in Hollywood (Catch-22, Carnal Knowledge). But what of Paul Simon, the creative half of the team, the composer of Bridge and all those other hits like Sounds of Silence and Mrs. Robinson? He has been preparing his first solo LP in recording studios as far apart as Paris and Jamaica, Los Angeles and New York. Called simply Paul Simon, it manages to sound...
...Sandy, the Shield's Rusty, to name only a few. Even when the ten-year-old identified too closely with that clever brat on paper as a rival, it was good for sales. Cartoonist Jules Feiffer, who has lately turned to writing for the theater and the movies (Carnal Knowledge), was both repelled and drawn to the Boy Wonder. "One need only look at him," Feiffer writes, "to see he could fight better, swing from a rope better, play ball better, eat better, and live better. For while I lived in the East Bronx, Robin lived in a mansion...
...Director Peter Bogdanovich has seen Anarene, Texas, in the cinematic terms of 1951-the langorous dissolves, the strong chiaroscuro, the dialogue that starts with bickering and ends at confessional. To be sure, from Summer of '42 to Carnal Knowledge, total recall gluts the screen. There is nothing very ingenious about replaying Hank Williams records or showing a kinescope of Strike It Rich. But Bogdanovich has gone far beyond simple souvenirs. His film miraculously recaptures life-styles and attitudes-sexual, social, political that have almost vanished from the national consciousness...