Word: cools
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Dates: during 1970-1979
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...curiouser, and even the knaves have to run faster to keep up, Alice Rivlin is the self-professed "official purveyor of bad news to the Congress." As head of the Congressional Budget Office, she and her 200-person staff figure out what proposed programs will really cost, and her cool counsel has stopped many of them in the gleam-in-the-eye stage...
...tense action sequence for throwaway lines about freeze-dried coffee or The Price Is Right. His inventive writing could not be in the hands of a better cast. Sounding a bit like the bastard son of Bugs Bunny and Humphrey Bogart, Falk delivers his wildest speeches with a cool sincerity that bespeaks true comic madness. Arkin is the wailing violin that accompanies Falk's gravel-toned bass. Together these actors form the funniest comic team since Zero Mostel met Gene Wilder in Brooks' The Producers. Not only should the in-laws reunite as soon as possible, but they...
Twenty years and 15 novels later, Muriel Spark is as tricky as ever. At first appearance,her cool, elegant prose and witty characters seem comfortable within the traditional British comedy of manners. But with a twist of plot here and a turn of the psychological screw there, Spark sends her comedies careening off in deadlier directions. Wit becomes malice. Tea and crumpets mask terror and corruption. Ordinary lives turn bizarre and mysterious...
Relations between Washington and Tehran, which have been cool since the exile of the former Shah of Iran, reached a new low last week. On two successive days, tens of thousands of Iranians marched past the U.S. embassy in Tehran, shouting insults and condemning American "intervention" in Iranian affairs. In a speech to 50,000 of the demonstrators, Ali Akbar Hashimi Rafsanjani, a close associate of the Ayatullah Ruhollah Khomeini, charged that U.S. policymakers were responsible for the death of every Iranian killed during the revolution. "Who gave the deposed Shah his weapons?" asked Rafsanjani. "Who supported him as long...
Unfortunately, as in his previous operas, Tippett's libretto falls short of his music. The harder he tries to be colloquial or hip, the more stilted he becomes ("What's bugging you, man?/ Cool and jivey once;/ Now, touchy and tight"). His three acts of roughly 30 minutes each are so compressed that they allow no development, leaving on the mind's eye only a flashing succession of emblems...