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Word: charleye (lookup in dictionary) (lookup stats)
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...field, Namath's transition from Broadway to Freeway Joe was simpler. He lives in a rented house in fashionable Belmont Shores. By night, he is apt to turn up at local Los Angeles area watering holes like Charley Brown's in Huntington Beach. Robertson, who often joins him in these excursions, testifies to Joe Willie's continuing ability to attract followers "like fleas...

Author: /time Magazine | Title: Sport: Rough Start for Freeway Joe | 10/3/1977 | See Source »

Then he told me 'bout the defense line, with the two All-Ivies, Baggot and Kaye. Bob Baggot, the crazy dude from California on the weak end, Charley Kaye, the big guy in the middle. He told me about Russ Savage, second-team All-Ivy and underrated, and Steve Kaseta, captain and no slouch himself...

Author: By Michael K. Savit, | Title: I've Got A Secret (Or) Say It Ain't So, Joe | 9/16/1977 | See Source »

...wife Jane (Jane Fonda) rehearse a Bonnie and Clyde act, first out of necessity and then as a sexual turn-on. They debut as criminals by robbing a drugstore; then they progress to the telephone company and Dick's old firm. Dick eventually outsmarts his ex-boss Charley (Ed McMahon) to wind up as president of the corporation. If crime is a game, then their winning number keeps coming up on the roulette wheel...

Author: By Hilary B. Klein, | Title: See Spot Steal | 3/1/1977 | See Source »

...half-cocked." Segal is barely adequate as her fumbling but well-intentioned husband. Dick is the quintessential Segal role, so sometimes he appears to sleepwalk through his unchallenging part. After a while, he follows every line with the same crooked grin and hand gesture. And McMahon helps turn Charley into a complete caricature, a cardboard figure who survives through backbiting, guzzling, and fanny-pinching...

Author: By Hilary B. Klein, | Title: See Spot Steal | 3/1/1977 | See Source »

DESPITE THESE occasional stabs at humor, Dick and Jane ultimately fails because of its heavy-handedness. Fred Koenekamp's leaden photography is yet another culprit. Examining the division between black and white, his camera focuses on a group of dancing black employees in Charley's office, then roams to depict the slow, stinking affluence at an aerospace company party. The camera's eye, like the script, lacks subtlety. The film editing, too, obviously emphasizes the difference between rich and poor neighborhoods, by switching from Dick and Jane's ivory dream house to a dark pool hall frequented by the unemployed...

Author: By Hilary B. Klein, | Title: See Spot Steal | 3/1/1977 | See Source »

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