Word: cliches
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...tons of coverage and commentary out of Paris last week, the most overworked cliché was: "Khrushchev overplayed his hand.'' This implied a general agreement that the U.S. had dealt him a strong hand to play-at least for propaganda's sake. Some of the U.S.-dealt high cards...
...fire engines you are after, ring a fire bell. Ferde's 1933 Tabloid Suite, inspired by the New York Daily Mirror, was even scored for typewriters. The San Francisco Suite consisted of four descriptive movements-"Gold Rush," "Bohemian Nights," "Mauve Decade" and "1906-1960"-all of them as cliché-ridden as any Mirror Sunday feature. But the composition was stuffed with enough acoustical effects to keep any Grofé fan awake and happy: a clanging cable-car bell, a foghorn, Chinese gongs and temple blocks, the clippity-clop rhythms of a hansom cab. The most rousing movement...
...Journey to the Day (Playhouse go, CBS), a loose-jointed drama about group therapy in a state mental hospital, was marred by some psychiatric clichés, but served brilliantly as a set piece for some memorable performers. Making his first dramatic appearance, Comedian Mike Nichols was highly plausible as a wearingly tense young actor whom the stage has struck too hard. And Janice Rule, as an attractive young schizophrenic of deep education and intelligence, gave a performance that would shock insulin: giggling behind a waterfall of hair, pacing the room on invisible paths of tension, she movingly evoked...
...2Oth century America, the dominant note on the stage is not courage, excitement or hope. It is not even honest despair, which can be the beginning of fortitude. It is a kind of bored preoccupation with familiar vices, treated with tabloid sensationalism, or written off in psychological clichés, but too rarely measured against sin and salvation, human striving and human failure...
Along with these vital virtues come pernicious defects. Bergman's work is often pretentious, obscure, and riddled with private references. He has the courage to use clichés, and often they work beautifully-witness the white-faced, black-cloaked figure of Death in The Seventh Seal. But at other times, particularly in his comedies, the clichés are the devices of a back-country Ernst Lubitsch; in A Lesson in Love, the last-minute, sappily symbolic entrance of a small boy dressed as Cupid is pure Kitsch...