Word: cliches
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...logical, stable span between Pollock, Kline and De Kooning and the newcomers who actually attach real beer cans to their paintings. His 155-work exhibition that opens this week at Brandeis University's Rose Art Museum,* proves that Rivers is exciting in his own right. Even the commonplace cliché of General George fording the Delaware looks good beside a giant representation of a Campbell soup can. The crucial difference is that Rivers, unlike the pop artists, does not leave his subject matter standing alone as a cool icon supposedly full of a magic banality. Rather, he espouses historical...
With half a dozen plots to juggle, Preminger keeps all of them interesting for at least two of the three hours spent In Harm's Way. At one moment he shrewdly plays the grimness of war against the undeniable glamour of it, next diverts the flow of sentimental clichés into a vein of snappish humor. "I'd enjoy meeting your son," says Meredith. "Naw-you wouldn't," grumbles Wayne, eying the lad across a messroom with eloquent distaste. Other scenes crackle comfortably: O'Neal cravenly having his backbone slapped into shape...
...hardly recognizable as a big man in sport: no glad hand, no ulcer, no cliché slogans. He never drank or smoked or swore or saw the inside of a nightclub. He was married to the same woman for 69 years. He did not care about money, and he rarely had much...
...that provides the inner momentum. Simon rarely tosses a line straight up in the air for an isolated gag; he hits it across a net of personal relationships so that a steady volley of wit builds up out of character and situation. Simon also knows how to prod a cliché off its bed of banality so that it walks toward the brink of logical absurdity. "Who'd send a suicide telegram? Can you imagine getting a thing like that? You have to tip the kid a quarter." An entire rhetoric of expert timing is contained in Walter Matthau...
...idea holds some promise, except that Director Sinatra and his scriptwriters goof away tension at every turn. A truce seems inevitable, since both camps are rent by internal strife and riddled with clichés. While Kuroki contends with a trigger-happy Buddhist, the American captain (Clint Walker) has to restrain a volatile young officer (played with unwarranted assurance by Singer Tommy Sands, Sinatra's son-in-law). The first meeting of G.I. and Jap ends with some cute business of swapping cigarettes for fish. There is a brief skirmish over a boat, but peace follows when Sinatra...