Word: lad
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RICHARD CORLISS, writer of the cover story on big- and small-screen aliens, recalls having to sleep with the light on after seeing the 1956 Invasion of the Body Snatchers as a lad. "In a way, thinking about the terror a good movie could provoke made me want to be a film critic." Since 1980 he has been that at TIME, also reviewing theater, music, sports and the occasional theme park. He keeps an open mind on alien autopsies and abductions. His wife Mary, though, is a believer in editorial abductions, especially on those late nights when Corliss...
...think you've seen this film before, a few years ago, when it was called Free Willy, and you dozed in your seat as your child sat rapt in communion with a lonely lad and his pet whale. Now it's Flipper, a remake of the 1963 film that spawned two sequels and a TV series. But it's still the same primal kitsch: boy finds dolphin, boy loves dolphin, adults wonder what's the big deal with the boy and his dolphin. Jeez! Adults don't understand anything...
Apparently, there was at first hope that the pigeons had been taken by some poor lad who desperately wanted to race pigeons but lacked the wherewithal to buy his own flock. Alfie was able to imagine the Trafalgar Square pigeons soaring gracefully over the Somerset moors or being pampered by a kindly pigeon fancier like that nice detective on NYPD Blue...
From his drab suburban birthplace in South London, Amis did well enough at his schooling to win a place at Oxford in 1941. From that point on, the old story should have followed without a hitch: lower-middle-class lad knuckles his forehead in gratitude and takes on the accent, manners and tastes of his social betters. Amis, however, whose education was interrupted by four years of service in the Royal Corps of Signals during World War II, returned to Oxford with no intention of kowtowing to the prevailing dogmas. He and his friend Philip Larkin, another scholarship...
Joseph Keaton Jr. was born to a knockabout vaudeville family and quickly put on the stage. The lad toured with his family until 1917, when he entered films as second banana to Fatty Arbuckle. In 1920, Keaton left Arbuckle to make his own movies. The medium was still in its infancy; comics were pioneering the craft of making people laugh at moving images. Keaton, it turns out, knew it all-intuitively. His body, honed by vaudeville pratfalls, was a splendid contraption. And as a director, Keaton was born fully mature. He was just 25 then, and as eager to mine...