Word: comic
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Dates: during 1960-1969
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ADAPTATION-NEXT. An evening of one-acters, both directed with great comic flair by Elaine May. In Miss May's Adaptalion, a contestant plays the game of life as if it were a TV game with penalties and bonuses. In Terrence McNally's Next, his best play to date, an overage potential draftee is subjected to a humiliating pre-induction examination...
...Bellini and Giorgione, and loves Renaissance perspective. He limns tiny images of skinned-looking women or bloated, lecherous men as zestfully as Bosch him self, and sets them against the wall of a squalid Roman slum. Surrealistically oozing globules and pustules contrast with saints' pictures and comic-book illustrations. The result is an emphatically modern version of everyday hell, but it is more than merely nightmare for its own sake. The squalor usually serves to set off the loveliness of some ver dant Tuscan mountain landscape, distantly viewed. Of Exterior Wall with Landscape, he observes, "One might say that...
...Revolt and revolution both wind up at the same crossroads," wrote Albert Camus. "The police, or folly." The men who made Che chose folly. As Scenarists Michael Wilson and Sy Bartlett saw it, the Cuban revolution was just a Caribbean comic strip drawn in that country's green and peasant land. Its luminaries, Che Guevara (Omar Sharif) and Fidel Castro (Jack Palance) are Batman and Robin in fatigues. Che formulates the plans with a marvelously worldly wisdom, Fidel dimly grins; all that is missing is a light bulb over his head. When Guevara decides to aim nuclear missiles...
...plot springs from his search for moral equilibrium. Each of the characters closest to him seems to have found a partial solution. His partner, Blueboy, a shrewd, gamy con man, will play whatever role the whites expect of him with a comic and cynical flourish. His mistress, Kelly Sims, a college-educated chemist, bravely but quixotically banks her hopes for Negro progress on intellect. His eventual wife, Lila, a wise but unlettered country girl, has the "black granite" endurance that was once popularly thought to be the essential quality of the Negro race...
...view. Director John Schlesinger sometimes seems less interested in Buck and Rizzo than in himself, covering his film with a haze of stylistictics and baroque decorations. Buck's involuntary memory provides him with a series of erotic flashbacks; the film illustrates them with the primitivity of a comic book. Joe's heterosexual encounters are treated with suppressed smirks. During one love session he bounces up and down on a TV remote control, so that Schlesinger can represent his athletics with quick TV clicks of Al Jolson in blackface, a bishop preaching and a Stegosaurus lunging through a forest...