Word: gangsterisms
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Taylor has always tested limits. Older pieces (going back as far as 1956) included in the current program confirm the breadth of his skill. Le Sucre du Printemps (The Rehearsal) (1980) pits a Chicago-style gangster and his moll against gray-clad ciphers in a workers' state, concluding in a massacre. Private Domain (1969) exposes a beach full of muscle builders, sexual athletes and Esther Williams-style chorus lines. Orbs (1966) harks back to the wedding scene in Martha Graham's landmark Appalachian Spring. Here, however, the screwball marriage takes place in "Terrestrial Autumn," where a drunk polkas...
DIED. Warren Gates, 53, earthy character actor whose laconic manner and menacing Kentucky drawl landed him numerous roles as a moody, alienated cowboy or gangster; of a heart attack; in Hollywood. Besides appearing in the TV series Have Gun, Will Travel, Gates was in 40 films, including The Wild Bunch (1969) and the recently released The Border...
...Andrews) who is befriended by a failing gay nightclub entertainer. Toddy (Robert Preston). He appreciates her vocal talents and realizes how to market her. She becomes Victor, a delicate, unknown member of the Eastern European nobility who is Paris's greatest female impersonator. Enter King (James Garner), a Chicago gangster who becomes Victoria's love interest but refuses to accept the label of homosexuality his low-life companions attach to him because of his association with "Victor." Complications ensue...
Things get really delirious when James Garner, as a determinedly heterosexual gangster from Chicago, falls for her/him. "I'm not a man!" she cries when he finally embraces her. "I don't care if you are," he replies. As he squires her around, the world is bound either to mistake him for a homosexual or learn the truth about her, which will destroy a very promising career. To further complicate matters, the gangster's bodyguard (sweetly played by former Detroit Lions Tackle Alex Karras), encouraged by what he takes to be a conversion by his master, comes...
...only alternatives contain no message at all: norror, comedy, and adventure all start from the proposition "what if..."/ and ask that you leave the real world at the ticket booth. Arthur Penn has had trouble dealing with America's failure to face facts. His early films exalt the gangster, the loner who lives above and beyond society despite the tragic consequences. Bonnie and Clyde and Little Big Man, show compassion and humor while revealing the ugliness of American mythology. Yet 1976's Missourt Breaks shows confusion, and worse, a lack of anything...