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...Love Game (in French). A happy, bawdy, and always violently spontaneous little Parisian pajama party, billed as the first New Wave comedy, in which the exquisitely funny Jean-Pierre Cassel refuses to make Geneviève Cluny a mother, much less an honest woman...

Author: /time Magazine | Title: CINEMA: Time Listings, Dec. 5, 1960 | 12/5/1960 | See Source »

...Love Same (AJAM; Films Around the World). "Up!" the young man (Jean-Pierre Cassel) chirps as he leaps briskly out of bed. "Grmpf!" protests the pile of bedclothes (Genevieve Cluny) he has left behind, "you didn't wake me up the usual way!" The young man looks appalled at his forgetfulness, leaps almost to the ceiling, lands back in bed. "A votre service!" he bellows...

Author: /time Magazine | Title: Cinema: The New Pictures, Nov. 28, 1960 | 11/28/1960 | See Source »

...Actor Cassel, 27, is easily the funniest Frenchman seen on screen since Jacques (Mr. Hulot's Holiday] Tati; and The Love Game, the first New Wave comedy released in the U.S., is a happy, bawdy but somehow innocent and always violently spontaneous little pa ama party. "What you do," the heroine informs the hero thoughtfully, "you do well. But-not seriously." Morbleu! he wonders. What more does the girl want? "A baby." The hero pales at the thought of marriage and fatherhood. "Fill your needs elsewhere," he proclaims indignantly. She finds a rival (Jean-Louis Maury) and gets engaged...

Author: /time Magazine | Title: Cinema: The New Pictures, Nov. 28, 1960 | 11/28/1960 | See Source »

...Broca, the comedy that counts is the comedy of character, and in Cassel he has found a richly responsive instrument to play on: a comedian who, like Chaplin or Marie Dressier, is more an actor than a performer. And through the character Cassel creates-a ludicrous but lovable mixture of Don Juan and Peter Pan-the moviemaker says something subtle and gently ironic about the character of urban youth in modern France. But at the core of his comedy, in scenes that hop, skip and jump like almost nothing since Rene Clair's great comedies (The Million, The Italian...

Author: /time Magazine | Title: Cinema: The New Pictures, Nov. 28, 1960 | 11/28/1960 | See Source »

Essentially, the production was the same as that given at New York's City Center. The staging and settings were exemplary. Julius Rudel conducted with complete authority; and the singers--headed by Gail Manners, Walter Cassel, Dolores Mari, and Robert Williams--were uniformly excellent down to the smallest part. In all, a stunning production of an important addition to the American operatic repertory...

Author: By Caldwell Titcomb, | Title: Arts Festival Exhibits Stir Up Controversy | 7/5/1960 | See Source »

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