Word: laurels
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...world tend not to display their knowledge, and we are far more likely to walk into a discussion about more conventionally sensational topics like politics or who is sleeping with whom than into one about whether the trout are rising or if it is a good year for mountain laurel. We know the changes in the season by the sports we identify them with and the thickness and the color of the clothes we wear. Such are the markings of the huge numbers of us who comprise this century's great urban flora...
Arnold falls in love with a school-teacher named Ed (Court Miller), who is confused as to whether he is straight, gay or ambidextrous. After his romance with Arnold, Ed decides that he is straight, more or less, and marries Laurel (Diane Tarleton). A year later, Arnold and his new lover Alan (Paul Joynt) pay a visit to the new couple in their farmhouse in Vermont, and Ed finds himself confused again. He is still attracted to Arnold; he is sorely tempted by Alan, the blond, all-American boychik; and he is in love with his wife. The permutations...
...last part, titled Widows and Children First!, is both the best and the worst. It takes place five years later. Alan has been killed in a "fag bash," an attack on homosexuals by macho punks; Ed has finally split from Laurel; and Arnold is in the process of adopting a gay teen-ager (Matthew Broderick). Add to that a visit from Mrs. Beckoff (Estelle Getty), the ultimate Jewish mother, and Fierstein has enough material for another three-acter. He has in fact perhaps too much to handle-or too little sense of structure to handle it well. He seems...
...fault that he was seven years between pictures, or that his new one seems almost (Gasp!) normal in its story of yet one more mad housewife: Susan Anspach finds fear, loathing, debasement-in short, liberation-when she joins a carnal carnival of Slavic immigrants. Montenegro is a Laurel-and-Hardy jalopy of a film, putting along impudently and then suddenly stalling, out of everything but gall. In these timid days, gall may be enough, especially with Makavejev behind the camera and Anspach in front, giving one of the year's sweetest, smartest, sexiest performances...
...through hit Broadway shows for a dozen years before Adele's marriage to an English lord, but to a movie mogul their stage success could be attributed to snob appeal and second-balcony myopia. In close-up Fred looked-and, in moments of earthbound repose, acted-like Stan Laurel. Thus the famous pronouncement on Astaire's first screen test...