Word: duet
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Dates: during 1970-1979
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SUSAN Sontag's Brother Carl is so much more accomplished in every way than her earlier Duet for Cannibals that it is liable to be mistaken for a good film. It is not quite that. It is what you might better call an imitation of a good film, a kind of master forgery, the film equivalent of painting by numbers, the sort of product that looks all right until you stick it next to the real thing...
...BILL EVENS TRIO was the tightest set and it was apparent that these musicians had played together before. They gave a polished performance in which pianist Evans virtually outshone everyone at the jam session. The duet between Vibraphonist Gary Burton and Evans was one of the most outstanding sequences of the night and Evans's finale--a vibrating crescendoing run--concluded the best set of the night...
...Israel Horovitz too. The copyist, in the final analysis, realizes that life will never end. About Byron the copyist reports: "Byron will delude himself . . . He will each time believe that it is over. That he is free." Later the copyist says: "Soon to end . . . The cast is their duet now . . . Each knows the other if forever now and both are frightened awed terrified by all that notion contains...
More rewarding was the aptly named Jackpot by Gerald Arpino, the company's resident choreographer. It was a mod, witty duet that suggested a Greek god and goddess having a sexual romp in outer space. As the curtain lifted, a shower of colored star beams descended to reveal Glenn White flexing his muscles on a cube-shaped platform. From behind the cube popped the curvy figure of Erika Goodman, who led White on a merry chase that culminated twelve minutes later in a highly suggestive climax. The cube lit up, a smoke bomb went off, rubber balls soared through...
...some great moments do break through: the audience that walks out; the hilarious surprise duet with Buster Keaton at the piano and Chaplin peering over a tall starched collar and playing the violin. More common, and more painful, though, are the promising fragments and glances that are refused their chance to build up any impact, or are undercut by the dialogue of a film in which Chaplin denies the elementals...