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Despite the sophistication that underlay her slapstick and the respect she commanded as the first woman to head a studio, Desilu Productions, Ball said she saw herself as "not an idea girl but a doer." Like the silent comedians she studied (Buster Keaton, her onetime office mate at MGM, taught her how to handle props) and impersonated (her mirror-image confrontation with Harpo Marx and her Chaplin homage were priceless), Ball rehearsed every sequence obsessively. Yet when the cameras were rolling she made each gesture look spontaneous, each wisecrack seem an ad lib. Memorably, Lucy and her sidekick Ethel Mertz...

Author: /time Magazine | Title: Lucille Ball: 1911-1989: A Zany Redheaded Everywoman: | 5/8/1989 | See Source »

Hair alone, on Broadway and through its many "tribes," or traveling companies, launched an army of performers who went on to mold the culture of the past two decades. Among them: the proto-punker Meat Loaf, Donna Summer, the Disco Queen of the late '70s, and Diane Keaton, who neatly embodied the postrevolutionary woman in Annie Hall. All ancestries link...

Author: /time Magazine | Title: Culture | 2/2/1989 | See Source »

BEETLEJUICE The feel-weird movie of '88. Director Tim Burton's supernatural jape features comic-book ingenuity, a swell turn by Michael Keaton as a punk demon, and a delirious calypso sound track. Day-O will never sound the same...

Author: /time Magazine | Title: Cinema: Best of '88: Cinema | 1/2/1989 | See Source »

DURING an episode of "Family Ties," big brother Alex P. Keaton, the self-proclaimed genius of the family, forced younger sister Jennifer to undergo a neurotic academic experience, convincing her to read volumes of case law and dress as the Statue of Liberty for her seventh grade oral report on "How a Bill Becomes...

Author: By Michael J. Bonin, | Title: A Lot to Learn | 12/7/1988 | See Source »

...conflicting emotions, what seems to you only a minor error in judgment, and suddenly your child is snatched from you. For Lindy Chamberlain (Meryl Streep) in A Cry in the Dark, the loss is permanent: she never sees her baby again, alive or dead. For Anna Dunlap (Diane Keaton) in The Good Mother, the outcome is not quite so cruel: she faces losing custody of her daughter Molly, but not the child's death. Yet both mothers find themselves in court, desperately defending themselves against society's determination to misunderstand their motives, to turn tormented consciences into legally guilty ones...

Author: /time Magazine | Title: Cinema: Star-Crossed Mothers A CRY IN THE DARK | 11/14/1988 | See Source »

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