Word: hunchback
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DIED. Marty Feldman, 49, cockeyed, rubber-faced, cockney comedian best remembered as the lovable hunchback Igor in Mel Brooks' Young Frankenstein and as Brooks' zany sidekick in Silent Movie; of a heart attack after completing location filming of a new comedy; in Mexico City...
...visible, the corners of his mouth wrenched in a clown's grimace as the voice machine-guns a blast of staccato croaks. Walter Matthau: the epitome of slob insouciance, a flophouse face and shaggy-dog body, wearing clothes like rumpled bed sheets, maneuvering across a room like a hunchback tiptoeing on roller skates. To see either one is to smile; to see them together, in The Fortune Cookie or The Odd Couple or here, working variations on the Mutt-and-Jeff theme, is to appreciate the musical symbiosis of a splendid comedy team...
...Esmerelda, the gypsy temptress in the CBS-TV Hallmark Hall of Fame treatment of Victor Hugo's The Hunchback of Notre Dame, British Actress Lesley-Anne Down, 27, bounces through enough personal crises to earn her a guest spot on Phil Donahue's show. During the two-hour special, to be aired next year, she is arrested, hauled off to the Bastille, kidnaped, ravished and accused of being a witch. In the gallows scene Lesley-Anne was forced to stand with a noose around her neck and her hands tied behind her back while she balanced atop...
DIED. Robert Russell Bennett, 87, composer and conductor best known for his orchestrations of some 300 Broadway musicals, including Show Boat, Oklahoma!, South Pacific and The Sound of Music, as well as for his scores for movies (The Hunchback of Notre Dame) and TV series (Victory at Sea); in New York City. Astonishingly speedy and fluent, Bennett could orchestrate a musical number from memory after seeing it rehearsed only two or three times. "The orchestrator's value is in his sensitiveness to melody," he once said. "If the melody has nothing to say, he is powerless...
...tortured by the humanity within him. Director David Lynch artfully manipulates these components--evading scariness and melodrama, while adding historical perspective and social commentary--to tell the true story of a tormented soul searching for dignity and compassion. Lynch's film is what Frankenstein should have been, what The Hunchback of Notre Dame merely hinted at, what Phantom of the Opera aspired to: a compelling tragedy...