Word: cowardly
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Dates: during 1950-1959
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FLASH AND FILIGREE, by Terry Southern (204 pp.; Coward-McCann; $3.50), recalls the two-reeler comedies of the silent movies, in which scenes would begin prosaically-with a tea party or dinner in a restaurant-and then break into paroxysms of action. This technique underlies this first novel by Texan Terry Southern, 34, who lives and writes in Switzerland. The book opens quietly at a posh Los Angeles clinic where Dr. Frederick Eichner, "world's foremost dermatologist," listens to the symptoms of a new patient, Felix Treevly. Six pages later the calm is shattered by a verbal and physical...
Faye Emerson and Murray Matheson starred in three of the nine one-acters that make up Noel Coward's Tonight at 8:30. They did well with Ways and Means, a bedroom comedy complete with burglar. But why did they omit the final line? Without it, the end fell flat. Hands Across the Sea is a plotless bit of mayhem, a three-minute joke extended to thirty. Shadow Play is a confused, stylized soap opera about a marriage on the rocks. It showed that the two stars ought not to sing in public; but it did provide a good final...
...hall where it was held. But the trial also showed how ineptly the government ran courts-martial and condoned torture. Overnight, Radio Cairo began hailing Nadia as a new "Moslem Joan of Arc," ignoring the fact that she is actually a Christian. Cried the Cairo newspaper Al Shaab: "The coward King, feeling his weakness and impotence before his giant people, has chosen to fight women...
...After a long, embarrassing interview with an English actress who was scheduled for a guest appearance, Jack comes onstage again, explains with a sour face: "She made a movie with Noel Coward, she did this, she did that. I said, 'Can you talk about these things?' She said she wanted to be a cook, a creative cook. That's not believable. A good-looking girl with a build wants to be a cook? The audience would think she was lying, that I was lying. It would destroy the naturalness of the show...
...Exit deals in despair--the existentialist brand of despair which employs an infanticide, a lesbian, and a coward as its protagonists; a despair which isn't any more tragic than it is didactic, and yet is great art. The dilemma of the common death sentence, hackneyed at the hands of philosophy professors, is moving as the instrument of good acting and directing...