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Director John Avildsen, who made Joe, continues to prove himself a master of the visual cliche, the low-slung symbol and the stereophonic anticlimax. He is abetted by Scenarist Steve Shagan, a sort of drip-dry Clifford Odets, who puts klieg lights around every metaphor. According to the credits, Shagan also functioned as the producer. Considering the results, that is a little like running off your unpublishable novel on your own vanity press...

Author: /time Magazine | Title: Cinema: Quick Cuts | 2/19/1973 | See Source »

...Hollywood has not produced a single movie in the past ten years that compares favorably with The Shame or The Passion of Anna. I hope that Liv Ullmann has the strength to retain a balance between her Bergman-like innocence and the powerful klieg lights of Hollywood...

Author: /time Magazine | Title: Letters, Dec. 25, 1972 | 12/25/1972 | See Source »

...audience began to stiffen when Act II brought on a male chorus dressed in black uniforms, strongly resembling Hitler's SS troops. As Tannhäuser lay dying at the end and cries of "Hallelujah!" rang out, 345 klieg lights lit up the theater, and instead of pilgrims, the audience saw a stageful of workmen glaring at them, raising clenched fists like a mob in a social protest play...

Author: /time Magazine | Title: Music: Left-Wing Wagner | 8/14/1972 | See Source »

...room looked like the campaign headquarters of a well-heeled candidate. Red, white and blue bunting festooned the walls, and pretty girls in tricolor jackets served doughnuts and cups of steaming coffee to visitors. Inside the television studio of Kaiser Broadcasting's Detroit office, even the klieg lights were filtered in the national colors. But the crowd that settled into chairs before the speaker's platform were not prospective voters, or delegates, but candidates. They had come for a seminar on a topic of paramount importance to each of them: how, in the era of instant communication...

Author: /time Magazine | Title: School for Candidates | 7/3/1972 | See Source »

...contrast between the two champions does not end with ideology. Ali is the black Adonis on parade?quick of wit, mercurial, explosive, forever turned on. Frazier is awkward and introspective, given to sullen moods that he calls "the slouchies." At home or in the ring, Ali is a klieg-lighted one-man happening. Frazier, who has the sullen glare of the late Sonny Liston (but none of the deep-rooted malice), courts neither the public nor the press. "I'm just me, see." he says. "If some people don't notice me, that's good. I got enough people pestering...

Author: /time Magazine | Title: Sport: Bull v. Butterfly: A Clash of Champions | 3/8/1971 | See Source »

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