Word: falstaffs
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Rockefeller, arriving in Miami, as "black comedy Falstaff, not only disastrous in himself, but the cause of disaster in others. ... He was not only a late starter; he had developed a fascination with the starting gate, and kept circling through it as if it were a revolving door." To the surprise of many readers of William F. Buckley's magazine, he was generally sympathetic to the kids in Chicago, whom he described as soft and supple. He spent days among them, and felt that their behavior was shaped by events, rather than vice versa...
...leading bleached lives. A dry-fuck life, Heimert would call it, if he weren't a shade too decorous to make a comment like that from any podium more public than a dinner table. His own style is so much more intense, robust, youthful, maybe in the way Falstaff's was and maybe in a more indestructible way that the fifties can only be a metaphor for his condition, not the cause...
...wonderful--the clarity of language and the play's comic potential are unfolded in the exciting and inventive reinterpreation of dialogue and characterization, reinterpretation remaining faithful to Shakespeare's intent in its bawdy humor, essential ambiguity, and emphasis on magic. Reviewing Orson Welles' film Falstaff, the Crimson's Peter Jaszi attributed to Welles "a single overriding concern: to make the text, both the words and the visual images implicit in them, wholly and completely his own, and thereby to make them ours." This can, with A Midsummer Night's Dream, be said of Mayer, and his success is very much...
...YORK SHAKESPEARE FESTIVAL brings the Bard to Central Park. Henry IV, Parts 1 and 2, plays alternate evenings through Aug. 2. Artistic Director Gerald Freedman guides Stacy Keach as the incorrigible Falstaff and Sam Waterston as the slumming Prince Hal. Then Romeo and Juliet moves into the Delacorte Theater on Aug. 7, with Martin Sheen and Susan MacArthur in the title roles...
...natural to regret that Orson Welles has so much difficulty financing his filmmaking, for his poverty is ours. But it is hard to pity the man who made Falstaff. Film directors pay for control, and control marks every frame of this film: control over settings, performances, shooting, and meanings. Except for the Brattle's shoddy projection, it is hard to imagine this Falstaff better, or different. Still, it is pleasant to think that a few pennies of my $1.25 may eventually find their way into the pocket of Orson Welles. I hear he's saving up for another movie...