Word: humor
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Dates: during 1960-1969
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...speechwriter and his TV consultant. Not that he appeared to need help. From the ladies in the audience Lindsay elicited the usual sighs of "divine," "beautiful." And in an even dozen appearances before students, lawyers, reporters, business leaders and other Angelenos, his speeches and repartee, laced with tart humor, were enthusiastically received...
Some of the best of them are the work of Manhattan Director Howard Zieff, 40, a short, hyperactive man with a zany sense of humor and an apparently limitless imagination. He is the leading practitioner of what the trade calls the indirect sell: the product is visible and so is the pitch, but the commercial zings across chiefly because it is entertaining and refuses to take itself seriously. To dramatize Braniff Airways' airfreight division, Zieff shows a man crated and shipped by air, arriving at his destination with not a hair out of place. For Whirlpool household appliances...
When Joe himself leaves his own vale of laughter, it is the result of an unintentional practical joke, played by a friend whose analysis of Joe's humor always kills the joke. What is true of Joe is also true of De Vries: his gags are the defenses of a very serious fellow who has found no better way to fend off the daily slings and arrows...
...were the respective offenders. Intonation in the Haydn was poor. Accompaniment figures in the violas were almost polytonal, and in spite of stalwarts like Street, Lisa Sandow and Richard Hamm, the strings evinced the same raw amateur sound that has plagued the Bach Society for years. Only in the humor of the finale's coda did the work manage to come alive...
...interrogation of Alice for sheer illogic. In a generally first-rate cast, Jack MacGowran is outstanding as a mad soldier who could have stepped from the plays of Beckett, while Crawford, as the silly subaltern, alternates hilariously between villainy and vanity. Despite its pictorial audacity and quirky humor, the picture is less impressive as a film against war than as a war against film-the kind of red-blooded Hollywood spectacular that glorifies battle. Nonetheless, Lester's irrepressible stylistic exuberance adds considerable evidence that the four corners of the screen are no more confining than the ancient four corners...