Word: fatted
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Dates: during 1960-1969
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...Flag. While Terrence McNally's Next does not have quite the dazzle of Adaptation, it, too, is richly comic and McNally's best play to date. At an antiseptically bleak Army induction center, a potential draftee (James Coco) appears for his physical examination. He is fortyish, fat, balding, and obviously the victim of some computer error. Nonetheless, his examiner (Elaine Shore), a squat female sergeant of stony mien and rigid devotion to the Army manual, proceeds with the examination. In a sequence of mounting hilarity, the thoroughly discomfited Coco is forced to strip down. The apex of comic...
...that the rats do not prove much about people. The reason is that the albino rat-a mutant form of the wild brown rat-is a genetic monster of dubious value to research. Caged and bred in captivity for more than a century, it is a man-made abomination-fat and degenerate, faithful neither to its wild ancestry nor to its laboratory role as a distorted mirror of man. "Theories are tested upon it," says Lockard. "Students are trained with it, and generalizations are based upon it. If albinus is misleading, so are many of the products of psychology...
...rebellion of the middle-aged man is an American legend. He wakes up one morning and looks in the mirror -and there is a creased, faded, fuzzy carbon copy of the youth he once was. He is 40-odd, going to fat, bored with his job and his marriage. So-in the legend-he shaves, puts on his gaudiest tie, phones the boss to say he's not coming in, says so long to his wife, and walks off arm in arm with his mistress to find his soul...
...below her breasts, a second body began that seemed to bear no relation to the first. Her stomach bloated out. Her hips, thighs, and legs were fat, ugly, repulsive. As he looked at her, the boy could see the absurdity of these proportions. Neither body bore any relevance to the other. It was as though there were a line, running straight across at the breastbone, that seperated one body from the second...
...MORAL of this film is "Tut, tut, middle class." Yes, here we have marvelous adulterers right before our very eyes. Middle class boozers who cheat on their wives. Fat old men who tell dirty jokes, bad dirty jokes. Cassavetes is working with a theme that has been sucked dry by better men than he. But Cassavetes is desperate. This is about Faces after all, so he keeps flashing close-ups of faces on the screen, quickly, back and forth. Sure, it is shocking. The same as seeing an oversize knee jerking out at you. Cassavetes has discovered something about film...