Word: cartoonable
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...chooses such work is Lee Lorenz, cartoon editor of The New Yorker. In Now Look What You've Done (Pantheon; unpaged; $7.95), Lorenz employs little of Saxon's architectural draftsmanship or Price's mirth-shaking slapstick. But in the right mood, he can quote anything out of context for hilarious effect. Outside the witch's gingerbread house a sign reads: THIS STRUCTURE WILL BE TORN DOWN AND REPLACED BY A NEW 44-STORY COOKIE. The back of Santa Claus' sleigh bears the bumper stickers REGISTER COMMUNISTS, NOT FIREARMS...
Like those two characters in a Jerusalem Post cartoon, most Israelis last week seemed to be exploring a new economic landscape with little joy, a dash of mordant wit and a surprising lack of panic. It hardly seemed possible, but after nearly 30 years of semisocialism-and all the government controls and subsidies that went with it-the brave new world of laissez-faire capitalism so abruptly introduced by Premier Menachem Begin began exploding before their eyes. The Israeli pound, shorn of its artificially pegged value, quickly plunged 46% against the dollar, from 10.3 to 15.2. Prices of essential consumer...
...mutually masturbatory conversations; a radio priest and a radio fascist who employ the air waves to peddle their doctrines. In the classic manner of exploitation pictures, the movie moves fast and speaks bluntly. It does not linger long over anyone's sense of anomie or alienation, but the panel-cartoon style i. effective. It is enough to be made aware of these empty lives...
...catching, and Ferric Fang's orchestra does justice to the bouncy music. Best of all, the set (designed by Robert Grossman, with hilarious graphic designs by Lee Bearson and Tom Gammill) keeps the audience laughing even when the script is flagging. Like the background in a Mad Magazine cartoon, the French Gothic Palace of Justice offers all sorts of hidden gags, which usually take a while to figure out, but are genuinely worth the effort to decipher. Unfortunately, the lulls in the action on stage offer the audience far too much time to search the background for funny material. Still...
...such moments, Levanter resembles Guy Grand, the cartoon millionaire-sadist in Terry Southern's The Magic Christian-a similarity that does no credit to Kosinski. But Levanter is not content merely to engineer or observe acts of humiliation. He is also an avenging angel. At an Alpine ski resort he blows up the vacationing henchman who tortures the subjects of a Middle East potentate. He devises an excruciating end for a New York hotel clerk who betrays visiting Eastern European guests to their native apparatchiks. This deed over, Levanter privately gloats because authorities cannot discover a plot linking killer...