Word: guileless
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Dates: during 1980-1989
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...other hand, the film's guileless manner becomes a kind of tribute to the underrehearsed lunacies of the comedy era it nostalgically celebrates. The humor of Your Show of Shows was based on what funny people thought was funny about the world they lived in. Because matters like demographics did not enter anyone's calculations, authentically crazy, therefore authentically human things occasionally burst through the box to startle us out of our living-room stupors; O'Toole's uninhibited inventiveness suits that atmosphere perfectly. One has to scramble back beyond the '50s to find...
...flew to Milwaukee last week to help Henderson celebrate, notes that the psychology of theft has not changed a bit since his own day: "What separates the great base stealer from the rest is arrogance. You have to eliminate all fear and declare war on the entire league." The guileless Henderson cites a less bellicose reason. Says he: "I've loved to steal bases since I was a little kid. That's what makes baseball thrilling...
...rankings and for the ABC-televised Georgia-Pitt Sugar Bowl over NBC'S Orange Bowl. Coming from a university president, this seemed a curious approach to a troubling subject. It did not improve anyone's perception of a successful football team's priorities. A few guileless words from Tiger Quarterback Homer Jordan in a magazine interview didn't help much either. An industrial-education major, Jordan described his study of materials of construction, coaching education and dairy science ("You learn about different kinds of milk, cheese, ice cream ... all the dairy products"). The Ivy League...
This is a Truman Capote unfamiliar to the readers of Music for Chameleons. Guileless, yet frivolous, self-absorbed, yet generous, Capote through his 20's and early 30's flits heedlessly from lover to lover, from New York to the South, from Ischia to the Continent, returning infrequently to the States, but always writing--a peripatetic dynamo...
...Mezzo Dunja Vejzovic, Bass-Baritone Siegmund Nimsgern, Herbert von Karajan conducting the Berlin Philharmonic and Deutsche Oper Berlin Chorus; Deutsche Grammophon, five records). Wagner's last and most difficult music drama has not had a really satisfying recording-until now. Hofmann makes Parsifal both strong and guileless, the splendid Van Dam is an anguished Amfortas, and Nimsgern is an evil, but not inhuman Klingsor. Only Vejzovic, a screechy Kundry, is weak. The real stars are Karajan and his Berliners, who capture the score's glowing spirituality and black magic in a luminous performance...