Word: comic
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Dates: during 1960-1969
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...seems useful. Often motivational research merely boils down to an inspired hunch. The elaborate process of commercial making begins in earnest with an agency brainstorming session (see box opposite). Once the slant of a campaign is determined, writers and artists then work up rough drawings of the ads in comic-strip form. Ideally, these "story boards" will have a "hooker opening" or an intriguing scene-setter, plus a memorable catch phrase or two that dramatizes the need, say, for Murine to cure "eye pollution" or for Wizard air freshener to wipe away "house-itosis...
...Shakespeare took the five low-comedy figures that Berowne ticks off as "The pedant, the braggart, the hedge-priest, the fool, and the boy." Respectively, Holofernes corresponds to the dottore, Armado to the capitano, Nathaniel to the pantalone and parasite, Moth (a wit) and Costard (a dimwit) to the comic servants (zanni). But it seems that Shakespeare also had in mind here poking fun at such now-forgotten men as Thomas Nashe, Gabriel Hervey, and John Florio...
...parts of the play's concluding song are sung by two different trios drawn from the comic personae. And finally the stars can be seen twinkling in the darkening sky, as the object of love's labour is not lost, but only postponed...
Truffaut, 36, has described this film as his "homage to Hitchcock." It is indeed filled with echoes of the old mas ter's style: long, slow tracking shots, comic functionaries, vibrant, stinging music. But for the most part, Truffaut is, happily, himself. Even Hitchcock could not stretch so many individual scenes to the limit-and still give them the tensile strength of drop-forged steel. Nor has he the almost Proustian ability to recapture the past in a skein of memories and desires. In its avoidance of a major theme, The Bride Wore Black opts for the minor genre...
Author Benchley, 52, son of Humorist Robert Benchley and himself a successful comic novelist (his book The Off-Islanders became The Russians Are Coming, the Russians Are Coming), is a careful tailor of dialogue and characterization. But by laboriously presenting stop-action, caseworker-like descriptions of his characters' psychological past, he unfortunately produces a general air more clinical than criminal, a climax that is more Gestalt than gothic, a final effect that evokes a quiet Oh, yes, instead of a stricken...