Word: comics
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Dates: during 1970-1979
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...then as an heir when he disowns his skeptical son. Apparently hoping that his association with the pseudo-pious Tartuffe will create for himself a public image of God-fearing moral rectitude. Orgon out-tartuffes Tartuffe and becomes a greater impostor than the master himself. Right up until this comic situation seems on the point of becoming tragic. Orgon obstinately ignores the blinding evidence provided by his family that Tartuffe is not only duping him heartlessly, but also lusting after his wife and robbing him of all his worldly goods...
...again after seeing M and a few of them are: whistle the Peer Gynt Suite, allow a kid to walk to school without an armed guard, see a floating balloon and not wonder where its owner is. If you only think of Peter Lorre as the whining, pop-eyed comic figure of a million parodies, try this on for size, for his performance in M is brilliant in its fullness, empathy and inseparability from the society he moves in. Hardly ever has a movie used sight and sound to better and more concentrated advantage. On a scale...
...Fuller as Prince Hilarion and Paul Seltzer and Paul Hewitt as Cyrill make an irresistably impish trio. Fuller proves once again his skill in portraying the standard G. and S. straight man--sweetly and stupidly earnest--and Seltzer and Hewitt sharpen one another in their roles as comic foils...
...following April the U.S. used B-52 bombers for the first time to wreak massive and arbitrary destruction on the North. And only five years ago in April, 1970 President Nixon initiated the U.S. incursion into Cambodia. This April, too, each week brings fresh evidence--trivial or crucial, comic or tragic--of the continuing strength the most shameful strands in American history. As the country refers to old slogans about taxation without representation, it learns of an Internal Revenue Service training school that plied undercover agents with liquor and women, 'objects' it evidently regarded as equally dangerous. As the country...
This version of The Siege of Corinth, pieced together by conductor Thomas Schippers from 35 varying scores of the opera and 2800 pages of original manuscript, is seamless and vibrant, and adds a rare tragic work by Rossini to the stock of his popular comic operas. Schippers is apparently as good at sewing musical segments together as Rossini, who constantly borrowed from old operas to write new ones, and who was so cavalier about detail that if a page of his manuscript fell to the floor while he was composing, he'd write a new one from memory, being...