Word: funniest
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Dates: during 1970-1979
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...biggest problem with Steven Spielberg's 1941 is its budget: this film is the most expensive Hollywood farce ever made. Certainly money has its uses in movies, but in a comedy? A key element of humor is surprise; jokes are funniest when they sneak up on the audience out of nowhere. In big-budget film making, the opportunities for comic am bush quickly disappear. Every joke announces itself in deafening stereo sound. Every pratfall is as momentous as Cecil B. DeMille's parting of the, Red Sea. Punch lines cannot be thrown away, but are instead hurled like...
Within the confines of this problematic script, the three actors do not perform poorly. Richard Kavanaugh (Scooper) thrives on the satirical scenes, timing his funniest lines well, and delivering them in a booming baritone that reverbrates about the small theatre. He wears a sardonic frown that embodies his contempt for the culture he lives in. But he acts out his irrational moments less convincingly. The abrupt transition from penthouse humor to breakdown is ungraceful because he tries to express his disorder by physical rampaging rather than verbal interpretation. And the baritone he exploited earlier is over-exercised; like the play...
Although the 800-yd. relay team qualified for the NCAAs, the squad failed to make it into the finals. But the trip was not a total disappointment as one of the funniest events of the season, according to Gauthier, occurred in Cleveland--"We were all eating at Swingo's Restaurant and I killed this fly that was buzzing around the table and someone told Mack to eat it. We said we'd give him a dollar each, so he dipped it into some chocolate sauce and collected his money...
...turns out to be the ice maker; and yes, the ghastly face visible when a door is jerked open belongs to a cop, not the murderer. The big scream scene, in which Kane turns for help to a blanket-covered figure of her sleeping husband, is some of the funniest footage since the Marx brothers broke up, and maybe it should have been planned that...
Davis Hall delivers Arthur's monologue, a 25-minute anthology of cliches about America, with more spirit than technique. This sequence can be one of Stoppard's funniest; its droning tour through Hollywood images of American cities in the '30s, with recaps in every train station, ought to build from a slow start to demonic possession. Hall starts off with too much energy, and, unable to add more, resorts to flailing his arms to hold the audience's attention...