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...often laid out as if for a garage sale. Consenting Adults does not have the emotional depth or the satiric edge of the author's seriocomedies, The Blood of the Lamb and Reuben, Reuben. In Decency, Conn., a favorite De Vries setting, the commuters and their wives clown around on the wall-to-wall carpeting but hear the steady drumming of eternity on the roof. In Pocock pipes of Pan playing tunes of innocence drown out the ravings of a street-corner Jeremiah. With sin and guilt suspended, the book lacks the touch of tragic relief that has made...

Author: /time Magazine | Title: Books: Where Love and Lechery Overlap | 7/21/1980 | See Source »

...that they consider what they do art. To them their work is more of a game, a vacation from their lives and their wives. Tommy Chong is the instigator--"He was always the guy who'd hang around the class clown and say, 'Hey, why don't you do this"'--but more often they work in tandem...

Author: By David Frankel, | Title: Living on Spongecake | 7/18/1980 | See Source »

...Doing a comedy is a lot like the clown at a party. If he has restraint, he walks away and you say, 'Who was that guy?' But if he does one lampshade joke too many, you go, 'Who was that asshole...

Author: By David Frankel, | Title: Living on Spongecake | 7/18/1980 | See Source »

With Dale at the hub, circus hoopla makes the evening spin. There are juggling acts, clown acts, acrobats, tumblers, a baton-twirling whiz (Sophie Schwab) and a marching band that goes swirling into the aisles. David Mitchell's set, festooned with primary colors, is a child's dream of the Big Top. While Michael Stewart has written prosaic nuts-and-bolts lyrics, Cy Coleman's music has a hang-gliding lift to it, and one lovely ballad, The Colors of My Life, will probably take off for a life of its own. As for Joe Layton...

Author: /time Magazine | Title: Theater: Circus Hoopla | 5/12/1980 | See Source »

...Hays' censorship. Most of the time the story is told, as it should be, through testimonies of survivors. Without resorting to the keyhole journalism of Kenneth Anger's Hollywood Babylon, Brownlow removes the filters from some widely accepted views. Roscoe ("Fatty") Arbuckle is presented as a guileless clown who became a national symbol of infamy before he could grasp what was happening to him. Rudolph Valentino is convincingly portrayed as a modest, good-natured charmer whose gifts are unjustly neglected by modern audiences. In Brownlow's account, Leading Man John Gilbert's career was not destroyed...

Author: /time Magazine | Title: Books: While the Parade Went By | 5/5/1980 | See Source »

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