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Word: comic (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

Deemed a worthy successor to the far-famed "Lowell Mole Patrol" and the much-touted "Take the Wrinkles Out of Pruneface's Face Association," the "Deathless Deer" club has been initiated by the B-School in recognition of the Boston Herald's new comic strip, product of the fiendish imagination of two girls, Alicia Patterson nd Neisa McMein...

Author: NO WRITER ATTRIBUTED | Title: "We Know All the Antlers," Says "Deathless Deer" Club | 3/25/1943 | See Source »

...brings on his old partner, Eddie Jackson, partly to strut, mostly to stooge; fetches his fans with old favorites like Inka-Dinka-Doo; he insults waiters, lambastes bus boys, beats up the band, heaves lamps, flings around telephones, rips apart pianos, surges to a high-slaughter mark of comic violence...

Author: /time Magazine | Title: The Theater: Better Late Than Ever | 3/22/1943 | See Source »

...hero and heroine are thoroughly drab; the comic characters are far more interesting. The villain dominates the proceedings, but it is doubtful whether he is a serious or a comic character. One moment he is a brutal, psychopathic murderer who keeps pictures of nekkid women on his walls. The next moment, the best sequence in the show, he is made fun of in a riotous song. "Pore Jud Gray Is Dead." Two minutes after Jud has accidentally killed himself in a fight with the hero, the lovers ride off singing the hit song, "Oh, What a Beautiful Morning...

Author: By E. C. B., | Title: PLAYGOER | 3/17/1943 | See Source »

Particularly noteworthy are the dances by Agnes de Mille, which, excepting for an occasional balling gesture, are among the finest ever seen in a musical. The cast is capable, especially Celeste Holm, whose comic touch is deft, and Joseph Buloff, whose comic touch is broad. Lee Dixon is fairly well known, but he is distinctly handicapped by lack of material and his resemblance to Red Skelton...

Author: By E. C. B., | Title: PLAYGOER | 3/17/1943 | See Source »

...than the British man-in-the-street can speak for himself. Dry-eyed sentimentalist, sly humorist, casual reformer, recorder of mutton-headed remarks, he has become the most widely read of British columnists. He has no U.S. parallel. His column, "Sitting On The Fence," is a kind-of literary comic strip, in which various permanent characters comment obliquely or directly on the affairs...

Author: /time Magazine | Title: The Press: Nat Gubbins | 3/8/1943 | See Source »

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