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...Wave, began the festival with his most recent film, Alphaville. His hero, Lemmy Caution, is a cross between Dick Tracy and Flash Gordon, spiced with a touch of Humphrey Bogart. (At one point we catch Caution reading The Big Sleep.) Godard lets his imagination run wild as his comic-strip hero battles the computer-king of a super-mechanized science fiction city. Neon signs flash mathematical formulas across the screen, and the computer growls instructions from what looks like a CBS recording studio...

Author: By Daniel J. Singal, | Title: New York Film Festival: Hits and Misses | 10/7/1965 | See Source »

There are three conspicuous ones, and an uncounted number of minor imitations. Most unlikely is Italy's Monica Vitti, an intellectual type seen as a brooding nymph in The Red Desert. In a new British production, Vitti is Modesty Blaise of London comic-strip fame. Modesty has retired at 26 from the international smuggling racket to become a sort of freelance girl Friday for the British Secret Service. Armed with blouse-button bombs, cigarette lighters that turn out to be miniature flame throwers, and lipstick that untelescopes into a deadly arrow, Modesty outbombs and outshoots everybody, including that archcriminal...

Author: /time Magazine | Title: Movies: The 007 Girls | 9/10/1965 | See Source »

...Comic-Strip Shaw. For 23 years on the Tribune, Cassidy not only criticized the cultural world of Chicago; to a large extent, she ran it. She helped persuade Conductor Fritz Reiner to take over the Chicago Symphony (1953-62), and she helped build up the estimable Chicago Lyric Opera. When she liked something -or someone-she lavished compliments. She was one of the first to praise and promote Tennessee Williams. Reviewing the 1944 world premiere of The Glass Menagerie, she wrote: "It is honest, tender, tough and brilliant...

Author: /time Magazine | Title: Critics: Exit of the Executioner | 9/3/1965 | See Source »

...Cassidy was read mostly for her attacks. Her reviews were often florid, sometimes shockingly inaccurate-she once confused Haydn with Prokofiev-but rarely dull. After seeing Olivia de Havilland in Candida, she wrote: "A pallid, one-dimensional heroine in a kind of comic-strip Shaw. When she enters, she is an interruption, nothing more." She dismissed Conductor Rafael Kubelik: "The symphony was as shapeless as his curious beat, being distorted by arms stiff as driving pistons or limp as boiled spaghetti...

Author: /time Magazine | Title: Critics: Exit of the Executioner | 9/3/1965 | See Source »

...Like his creation Charlie Brown, who never uses an expletive stronger than "Good grief!" Schulz insists: "I've never used a cuss word in my life. I don't even like ugly words like stink or fink. Perhaps I'm just ridiculously sensitive." He believes that "comic-strip artists have a responsibility to be uplifting and decent. This is not difficult. My book, Happiness Is a Warm Puppy, is completely innocent; yet in 1963 it outsold every other book, despite the waves of smut sweeping the country...

Author: /time Magazine | Title: Comics: Good Grief | 4/9/1965 | See Source »

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