Word: leaping
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Dates: during 1960-1969
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Every weary truck driver knows the highway stops where he can pay $15 for a bag of stimulating amphetamine tablets-he calls them "bennies" or "copilots." Equally knowledgeable is Harold Leap, agent of the year-old U.S. Bureau of Drug Abuse Control and head of its St. Louis office. Disguised as truck drivers, Leap's D-men have bought illegal bennies time and again, but not just to nab roadside peddlers. They aim to buy supplies of bennies wholesale, and thus trace the black-market drugs back to their source...
Last month Leap's agents were able to place an order for 10 million pills at $15 a thousand (they cost 56? a thousand to make). Next, the D-men raided an outfit aptly named Fixaco Inc., operating out of a motel in Imperial, Mo., where they said they found 650,000 bennies. The agents made six arrests, including John R. Kauffmann, operator of the motel and of Fixaco, who was charged with having made two illegal sales. He and the other five all pleaded not guilty...
Those who planned this film first read Joyce quite profoundly. They discovered not only some of his wildest humor, but also his deepest tenderness, and his sense of how quickly the mind, in its movements, can leap from tenderness to humor, or from deep sorrow to humor. They discovered too Joyce's vision of man's hope, the optimistic vitality epitomized by Molly Bloom (Barbara Jefford), the Earth Mother, but well-represented in her husband (the "womanly man") Leopold. In the vital mind of Molly or Leopold, the choice is humor when humor and sorrow coincide. The Blooms...
...smoothly into the ensembles (his aria was wisely omitted, as was Marcellina's). David Cornell's Bartolo was strong but a little clumsy and headstrong. Angus Duncan as Antonio was marvellously and bitterly ironic. He also had one of the most brilliant lines of the translation: describing Cherubino's leap from a window, he testifies, "I'm sure that he wasn't on horseback, for no horse from the window came down." But of all the minor roles, Juliet Cunningham's Barbarina was best. Her fourth act cavatina ("I'ho perduta, me meschina") had just the right touch of girlish...
John Lithgow's staging was restrained (for Lithgow) and stylized. His blocking moved well, and the choreography had moments of brilliance without upstaging the music. The panic preceding Cherubino's leap from the window, the third act choral dance, and the intricate comings and goings of the last scene were the best...