Word: cartoonable
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Chafed Elbows is also an experiment in visual humor. Downey uses still pictures for more than half the movie, treating the frozen action as a cartoon. Dinsmore is on a roof undressing a girl. Stop. Comment. He makes love. Stop. He throws her off the roof into Long Island traffic. Comment, existential chuckle. Dinsmore gets a stop-action hysterectomy which, allowing for differences of taste, is still not the last laugh. But that it is humorous at all is Downey's victory...
...Paul Conrad's cover cartoon of the leading presidential contenders [April 14] does reward "a few moments of savoring contemplation," but the really intriguing figure is the horse. This mean-and unpredictable-looking animal probably symbolizes the electorate upon whose support each "jockey" must ultimately depend. Is there not, however, an outside chance that it represents a "dark horse" candidate? A Mustang for Ford Foundation President McGeorge Bundy? A symbol of the long-departed past for Barry Goldwater? Or perhaps it is not a horse at all, but a mule standing for George Wallace's stubbornness...
...File and Forget," an extended account of the donderheads in the book-publishing business, could do with some more rehearsal. So could the short opening and closing numbers, the "Word Dances," in which couples whirl about the stage, freezing in various attitudes as one character or another delivers a cartoon caption. Every unscheduled shuffle or concession to momentum is instantly apparent and instantly annoying...
Lifted off the newspaper page and on to an off-Broadway stage the boys and girls of Peanuts are only tepidly amusing. The show consists of skits and tag lines from the cartoon series, a revue never more than thimble full. Like Punch and Judy, the characters cannot grow, but merely repeat themselves. There is always something affected about grown men and women pretending to be children and dogs, but this cast manages it with a minimum of annoyance. Peanuts is for devout fans, yes; for theater fun-seekers...
...stage, Succeed succeeded by being as broad as it was wide. A pastel-colored animated cartoon of contemporary big business, it musically chronicled the rise of a bright-eyed, bushy-tailed rodent, J. Pierpont Finch (Robert Morse), who won the rat race by running just fast enough to keep up with his boss (Rudy Vallee...