Word: fats
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Dates: during 1960-1969
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...running performance had left him "bushed and broke." AID, by contrast, is in surprisingly good shape. In the face of persistent Congressional assaults on the program, Bell, a Harvard-trained economist who was summoned to Washington in 1961 as President Kennedy's first budget director, helped trim the fat by rejecting the notion of aid as "a worldwide welfare program" and insisting on "self-help...
...fourth play in the tetralogy. This year it has opened its twelfth season by turning to the third and least often performed. But, despite the highly commendable Falstaff of Jerome Kilty, the gap is not really being filled: there is too much directorial and thespian ineptitude surrounding the fat knight...
...Kilty trills his r's with relish and reluctantly relinquishes his final sibilants shows us how much Falstaff loves the sound of his own voice. But, being old and fat and short of breath, he must speak in spurts. Time and again Kilty will seem to end a sentence, make to move, and then turn back as though to add an afterthought. This is Falstaff exactly, one who loves to spout a comment and then vary it, amend it, augment it, or top it -- and one who, as Milton said of Belial, "could make the worse appear/The better reason...
Broadway Director Mike Nichols, in his first movie job, can claim a sizable victory simply for the performance he has wrung from Elizabeth Taylor. Looking fat and fortyish under a smear of makeup, with her voice pitched well below the belt, Liz as Martha is loud, sexy, vulgar, pungent, and yet achieves moments of astonishing tenderness. Only during sustained eruptions does she lapse into monotony, or look like an actress play-acting animosity instead of feeling it. As the ambitious young prof whose blueprint for success includes "plowing a few pertinent wives," George Segal exudes callow opportunism assuredly. And Broadway...
...belong. His Continental Op (for operative), based on the author's own experience as a Pinkerton detective, is authentically tough. All mystery stories are implausible, and so are Hammett's. But in his case the reader accepts their implausibility because the characters, particularly the Op himself-a fat, stubby, middle-aged man who never got a name and needed none, being an archetype-seem so real. "He put these people down on paper as they are," wrote Raymond Chandler, whose fictional Philip Marlowe was one of the more successful copies of Hammett's laconic Op. "He made...