Word: fu
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...East. Errol's career has been bold but erratic. Since age 18, when he and his brother started Wetson's hamburger chain, he has bought and sold antique cars, run a trendy Manhattan restaurant called Le Drugstore, imported soft denim, and backed the TV show Kung Fu. One day last spring, he was sitting in his favorite place, the Plaza hotel's Palm Court, when he saw Margaux, who was in town for a skiing promotion gig. Their eyes locked. They have been in love ever since, and when Margaux arrived in New York last fall, they...
...first beneficiary of organized crime is the organized criminal. The second is his well-paid opposition. The detectives, private guards, attack dogs and Kung Fu instructor all flourish in this lawless epoch; close behind are the writers of self-defense manuals. The most recherché of these literary crime fighters is David Krotz, author of How to Hide Almost Anything. Krotz, who is a carpenter as well as a writer, conjures up a harrowing world. Intruders perch upon window sills, second-story men prowl through closets, burglars tiptoe through kitchens and bedrooms. Their quest...
This might have passed for just another ramshackle kung-fu import if it were not for the ad campaign, which promised "the first X-rated fight scenes in screen history." The M.P.A.A. is usually stern about sexual content, but almost carefree about violence. What about The Street Fighter could have raised the organization...
...masterminds a gang of bank-robbing thugs with monikers like "the Professor," "the Reverend" and "Mammy" (Jeremy Geidt), who are all kept in line by Dr. Nakamura. Made up to look like Dr. Fu Manchu and with an accent to match, Alvin Epstein plays this role with hysterical finesse. Enter a Salvation Army lassie, "Hallelujah Lil" (Stephanie Cotsirilos). She falls for Bill, and redeeming social values ensue...
...have influenced a great artist may not make a painter great, but it does help make him interesting; and probably no one had more impact on William Blake than John Henry Fuseli. To look at Blake's nudes and then at Fu-seli's, with their rhetorical gestures and armor-plate muscles, is to sense this. Then reckon in Fuseli's eccentricities, which though irreligious were akin to Blake's own, and it seems clear why the younger painter spared Fuseli the contempt he felt for nearly every other English artist of his day. Fuseli...