Word: humoredly
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Dates: during 1960-1969
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...Lampoon's failure is particularly sad because it leaves the absurdity of the Vietnam war virtually untouched by American humorists. Indeed, the one great exception remains the Lampoon's 1965 parody of Time magazine. What humor there is in the war is exploited by Conn Nugent in his "Personal Essay," an unlikely letter from a Leverett House senior to the Duke University Graduate School of Business Administration...
...successful doctor (Sidney Poitier) who, in the jargon of the early 60's, "happens to be a Negro." Of course the liberal editor turns out to have trouble practicing what he preaches, whereon the plot of the movie is hinged. William Rose's screenplay offers humor (the girl's parents' reaction on meeting Poitier; his parents' reaction on meeting Miss Houghton), suspense (who will talk to whom in which room next?), and incisive social commentary (we are brothers under the skin). Some reviewers have been kind enough to call it a drawing-room comedy, but in reality Guess...
...children are learning to make movies at the same time that they are mastering the ABCs. In Lexington, Mass., for example, Yvonne Andersen, 36, runs an extracurricular workshop where children aged five to twelve are introduced to the rudiments of animated film. Their work shows a freedom, verve and humor that Disney might have admired. Their short subjects (four minutes maximum) range from settings of favorite nursery rhymes to imaginative moralistic fables like The Amazing Colossal Man, written and produced by a dozen workshoppers. In this no-nonsense parable, suspicious earthlings annihilate a peace envoy from outer space...
...likeable person with a self-deprecating sense of humor and an oratorical style so uncharismatic that it verges on self-parody. He is possessed of no stirring visions. He believes in peace and in sound government, and he is in all things a conciliator and a moderate...
...contrast to the humor, the lower depths elicited the most common failings of undergraduate art. Most of the dances which dealt with the anguish of love, or depression, loneliness, and death produced big empty cliches of movement: contractions in the solar plexus, rolls to the floor, and tortured embracing of empty space (including the dancers' own heads). Using quivering feet and fingers spread in agony to express their morbid profundities the choreographers seldom planned expression for the whole body. Still preverbal, they were seldom able to express themselves in the real morphemes of the dance--movement and energy involving...