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Pool places only a modest burden on the wallet at a time when dinner and an evening out for two can inflict triple-digit damage. "It's cheap entertainment," says New York banker Stephen Eisenstein. "You can come by and meet a friend and chat -- or not -- as you choose." Nor is the sport as physically demanding as the swingles scene. Says real estate investor Miles Levine: "Sex and drugs are out. We're going back to a more conservative time...

Author: /time Magazine | Title: Living: Everyone Back into Pool! | 12/26/1988 | See Source »

...trance, and he only considered people in terms of his film. He would ask, 'Are you gonna help me carry this equipment?,' 'Are you gonna be an extra?' He was obsessed. That's sign of a true artist. So I gave him the nickname 'Sergei.' You know, like Sergei Eisenstein...

Author: By Deborah E. Copaken, | Title: An Animated Lunch With Larry | 6/11/1987 | See Source »

...What delirious conflict between Ness the lawman and Ness the family man, as he tries to protect the infant and simultaneously conduct a shoot-out. What wild comedy in this conflict between duty and humanity. And De Palma ices the cake by shooting the scene as a parody of Eisenstein's Odessa Steps sequence from Potemkin...

Author: /time Magazine | Title: Cinema: In The American Grain THE UNTOUCHABLES | 6/8/1987 | See Source »

...Demel to the Emperor Franz Josef's mustaches. For its new Die Fledermaus, televised by PBS on New Year's Eve, the Metropolitan Opera has constructed outsize rooms in Johann Strauss's idealized waltzing city with such vivid realism that they could be sold today as luxury condominiums. Eisenstein's residence comes equipped with a spacious sun porch; Prince Orlofsky's pleasure palace boasts both a grand foyer and a palm-court refectory that make Maxim's look understated. When it comes to grandeur, Otto Schenk and Gunther Schneider-Siemssen's magnum of a production has popped its cork...

Author: /time Magazine | Title: Music: Fledermaus | 1/5/1987 | See Source »

...Tate's charmless time beating, even the famous waltz proves resistible. Te Kanawa displays her shimmering voice to some advantage in the first act, then fades away. As the bubbly chambermaid Adele, Soprano Judith Blegen is unsure of pitch and unsteady of tone, while Baritone Hakan Hagegard inappropriately plays Eisenstein as a staggering buffoon...

Author: /time Magazine | Title: Music: Fledermaus | 1/5/1987 | See Source »

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