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...always renowned for political audacity, was under attack for censoring two separate peace pleas taped by Carol Burnett and Elke Sommer for the network's late-night Merv Griffin Show. Both were emotional appeals for antiwar letters to be sent to Mrs. Martin Luther King, who planned to deliver them to the President as part of a movement called People for Peace. After Burnett's bitter protest, the network apologized, saluting her as "one of the great stars in the CBS family." Like the Smothers Brothers...

Author: /time Magazine | Title: People: Jan. 12, 1970 | 1/12/1970 | See Source »

...Carol and Ted and Alice. A Hollywood comedy about Esalen-inspired liberation in California. The philosophical outlook is solidly middle-class, but the script (by Paul Mazursky and Larry Tucker) and the performances of Elliot Gould and Dyan Cannon are witty and sometimes surprisingly perceptive...

Author: By Frank Rich, | Title: The Moviegoer Ten Best Films of 1969 | 1/9/1970 | See Source »

Cheri Theatre 1-Natalic Wood and Robert Culp in Bob and Carol and Ted and Alice. Dalton St. near Prudential Center, opposite the Sheraton Boston Hotel...

Author: NO WRITER ATTRIBUTED | Title: Things You May Be Forced To Do If You're All Alone This Weekend | 12/19/1969 | See Source »

...film's every turn and nuance is heightened, given immediate meaning for the character involved, as much by its understated acting as by its simple shooting style. Carol Dempster has come far from the frolics she and Lillian Gish gave Griffith's films of the earlier twenties. And Adolphe Menjou, as Satan, is the model of restraint. For him a grimace or devilish leer would be an unspeakable faux pas. But Griffith, far from leaving him a polished gentleman without depth of character, makes his slightest gestures personally significant. Menjou is eating dinner with Ricardo Cortez in the grandest...

Author: By Mike Prokosch, | Title: The Moviegoer Sorrows of Satan | 12/12/1969 | See Source »

...After "Carol" the band went into a sloppy "Sympathy for the Devil." Jagger introduced himself as the devil and the audience burst into applause in recognition of its own dreams of what Mick Jagger doing "Sympathy for the Devil" would be like, and sure enough, when I asked people later they could have sworn they heard calypso. Most disappointing about this particular song, and most of Jagger's vocal performance for that matter, was the absence, up until "Satisfaction," of any vocal improvisation. Much of the Stones' dynamic relies on Jagger's talent for splintering and then remaking the vocal...

Author: By Joel Haycock, | Title: The flea-bit painted monkey Got Live If You Want It | 12/9/1969 | See Source »

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