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HABEAS CORPUS. The middle-aged hero of this achingly funny farce studies lechery like a college course, but he gets nary an A for carnal knowledge. In key roles, Donald Sinden and Rachel Roberts convey randy frustration and purvey music hall bawdry...

Author: /time Magazine | Title: The Theater: The Year's Best | 12/29/1975 | See Source »

...paintings show Kupka's sizeable vocabulary of line and color, the grammatical expertise of his construction, and the complexity of the thought he is trying to convey. But the majority of the works fail to make an artistic statement. It's hard to pinpoint Kupka's shortcomings. Certainly he had a clearly defined idea of his art (even if it's hard to follow...

Author: By Eleni Constantine, | Title: Reflections in a Mirror | 12/16/1975 | See Source »

Certain other technical aspects of the film are annoying and combine with Verneuil's confusion to undermine the impact of the camera-work. The score, whose recurring theme features a plodding bass line supposed to convey a sense of impending doom overlaid by a piercing electronic whistle intended to raise us to a pitch of terror, is grating rather than eerie. The actors' voices seem to be dubbed; even though they are mouthing English words, the soundtrack is not synchronized...

Author: By Anne Strassner, | Title: A Tepid Thriller | 12/15/1975 | See Source »

...spent most of their time hanging out, trying to be cool, driving old cars down interstates late at night and making periodic stops at lovers' lanes. Even though the characters Springsteen sang about were a particular type (East Coast, specifically New Jersey urban; middle class; apolitical) he managed to convey something of the quality of American adolescence in general--the pain, the self-and-status consciousness, the particular tackiness of those years. His songs recognized the power of adolescent experiences, and acknowledged that some people spend their lives stuck in their teen-aged identities...

Author: By James B. Witkin, | Title: After The Hype | 12/6/1975 | See Source »

BEUSMAN, UNFORTUNATELY, plays Miss Lonelyhearts as a goofy adolescent type who broadcasts his weirdness by making grotesque faces. Unable to convey the fervor of Miss Lonelyhearts' hysterical religiosity, he supplements his limited emotional range with a series of stock expressions and mannerisms--employing a conscious hesitation in his voice, staring stupidly into space, shrugging his shoulders, bouncing up and down on the balls of his feet. Sporting a perennial grimace, Beusman is far better at looking disgusted--as in his first run-in with the man-starved Mrs. Doyle--than at appearing lovable or humane; as a result, his scenes...

Author: By Julia M. Klein, | Title: Soft Steel and Sour Milk | 12/4/1975 | See Source »

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