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...epoch of Hollywood's great, and great looking film comediennes-a group that extended from Carole Lombard and Constance Bennett to Jean Arthur and Lucille Ball-is as extinct as the Movietone newsreel. Robert Redford and Paul Newman, Donald Sutherland and Elliott Gould, these are the happy couples who now hit it big at the box office. Audiences in search of funny girls have learned to forsake the theater for Valerie and Mary on the smaller screen. Mary opts for the soft approach. Every week, as Mary Richards, the effervescent assistant TV producer, she manages to discover fresh comic...

Author: /time Magazine | Title: Rhoda and Mary -Love and Laughs | 10/28/1974 | See Source »

...strong enough to spin off to her own production. Her new series has relocated her in Manhattan, where Rhoda has actively searched for an apartment, a job and a man-and miraculously found all three. She has also found a supporting cast that rivals Mary's: Harold Gould (Pop), who helped sharpen The Sting; Nancy Walker (Ma), a former stage comedienne whose timing could be used to set observatory clocks; Julie Kavner (Rhoda's sister Brenda), a fresh face with an oversized appetite and talent to match. Rhoda has even been given a fiance, Joe (David Groh...

Author: /time Magazine | Title: Rhoda and Mary -Love and Laughs | 10/28/1974 | See Source »

Clothing manufacturers and automobile designers are unwittingly responsible for a malady that Dr. Nathaniel Gould of Brockton, Mass., calls "back-pocket sciatica." Gould, who described the disorder in a letter to the New England Journal of Medicine, first became aware of it when a colleague who made a large number of house calls complained that he suffered from leg pains while sitting in the confining bucket seat of his sports car. Gould could find no obvious cause of the discomfort but noticed that the doctor carried a bulging wallet in his hip pocket. He speculated that the wallet might...

Author: /time Magazine | Title: Medicine: Back-Pocket Blues | 9/23/1974 | See Source »

Segal has to escape from the office to go to the track and when the horses are running his very soul is clenched. He's desperate. While Gould follows the action ("I gotta be near the action," he says, and he means any kind), Segal follows the "feeling" ("I had it! I had it!"). It's Dostoyevsky's kind of gambling: you gamble because you're trying to win back an unknown something you lost a long time ago. Segal lives thinking the odds are stacked against him. He's separated from his wife, he's in debt...

Author: By Richard Turner, | Title: Froot Loops and Moot Points | 9/18/1974 | See Source »

Also, the part is undermined. It's hard to see gambling fever as a killer disease in a sick society when Gould's caricature is at work. He's riding on a great big California high, living in a house where there's no sense of time, where breakfast is Froot Loops and beer, where people "crash" when their "action" cycle runs out, where an aging hooker named Barbara gropes around looking for "The Guide." They're all too exhilirated by the California high to be sordid, and Gould's love of gambling for its own sake undercuts Segal...

Author: By Richard Turner, | Title: Froot Loops and Moot Points | 9/18/1974 | See Source »

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