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...with the falling bodies of suicidal lovers; a service that rents cardboard cutouts of celebrities to fill up the room when a hopeless bachelor tries to give a party. A pity Director Arthur Hiller could not sustain such a high level of lunacy throughout this adaptation of Bruce Jay Friedman's pop-classic meditation on how urban realities undermine our urbane fantasies. If he had, unlikely adjectives like Felliniesque might now be accreting to The Lonely Guy. But half the film is merely joky in a flat, familiar way, and Steve Martin in the title role and Charles Grodin...

Author: /time Magazine | Title: Cinema: Rushes: Feb. 13, 1984 | 2/13/1984 | See Source »

...March. But the company's products encountered problems, and in October Fortune's directors forced Friedman to resign as chairman and leave. Last week the fiery Jack Tramiel, who founded Commodore, the home-computer maker, abruptly quit. He had taken the firm from sales of about $50 million in 1977 to more than $1 billion last year...

Author: /time Magazine | Title: Making a Mint Overnight | 1/23/1984 | See Source »

...Bruce J. Friedman Philadelphia...

Author: /time Magazine | Title: Letters: Dec. 12, 1983 | 12/12/1983 | See Source »

...York City. The latest omission of this kind is "Hockney Paints the Stage," a lavish and delectable survey of the theater work of the English painter David Hockney, which opened last week at the Walker Art Center in Minneapolis. It was organized by the Walker's director, Martin Friedman, whose catalogue, with additional essays by Poet Stephen Spender and Theater Director John Dexter, is the definitive work on Hockney as stage designer. The show will travel to Mexico City, Toronto, Chicago, Fort Worth and San Francisco, but not east of the Hudson. The irony is that most of Hockney...

Author: /time Magazine | Title: Art: All the Colors of the Stage | 12/5/1983 | See Source »

Always, in his paintings, one feels that things are happening on the other side of the frame, which is a virtual proscenium. It is exactly this removal that equipped him so well, at the outset, as a stage designer. As Friedman argues at some length in his text (and as a group of Hockney's easel paintings, included in the show, makes clear), theater has never been far from the core of his art. His shallow space quotes the conventions of the stage: flats, curtains, wings. There is a taste for exotic figures (red Indians, ancient Egyptians) and stage...

Author: /time Magazine | Title: Art: All the Colors of the Stage | 12/5/1983 | See Source »

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