Word: criticism
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Dates: during 1960-1969
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...rest of director Mary Belle Feltenstein's cast is not up to their standard. Bob Barnard is weak as Mortimer, the sisters' drama-critic nephew. The part is very difficult. Mortimer has to be the sane man in a houseful of lunatics and cadavers, registering a new variety of horror or shock every time a grisly surprise is sprung on him. But Barnard simply hasn't the range of expression he needs to make the most...
After 30 years and some 10,000 movies, New York Times Film Critic Bosley Crowther, 62, is calling it quits. Not that he is tired of movies. Far from it. "One of the rewards is that I can still be enthusiastic about movies after all these years," he says. But he would prefer to escape the daily grind and write about films and film makers at a more leisurely pace. Starting Jan. 1, 1968, when New Yorker Writer Renata Adler, 29, replaces him, he will do just that...
Last week, to his astonishment, he lost. The jury unanimously found Exit obscene. In so doing, it crisply ignored the testimony of a number of literary lights who contended that the book was a near masterpiece that denounced the gutter by wallowing in it. Critic Frank Kermode, former co-editor of Encounter, argued that he "was horrified by it, but impressed by its novelty, originality and moral power. Dealing as it does with the lower depths of a great city, it is very much in the tradition of Dickens." Since Selby offered a minutely detailed chronicle of unremitting violence, perversion...
...watch his head fall into a basket. To conclude this opening maelstrom of mayhem, Dr. Frankenstein opens the coffin of a dying girl for an operation to remove her beating heart and thus begin his monster. The spectacle is vivid enough to sicken some audiences, but Alan Brien, drama critic of London's Sunday Telegraph, insists that "the sequence is an eyeopener to those who believe the theater cannot match the cinema in projecting images of violence and pain...
When Frank Stella's first canvases, consisting of black pin-stripe squares inside of squares, were shown at Manhattan's Museum of Modern Art in 1960, local papers reacted in horror. "Unspeakably boring!" snapped Herald Tribune Critic Emily Genauer. A less determined man might have gone into life insurance-but Stella painted on. His latest canvases, on view at the Castelli Gallery, are newly brilliant with a rainbow of Day-Glo colors, but they are as elemental in concept as ever (see color opposite). What has changed is that instead of being banned for boredom, Stella...