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Word: mel (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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Usage:

NEIL SIMON wrote only one successful play after The Prisoner of Second Avenue. Then he moved to Los Angeles. Prisoner is his ode to New York City, a typical Simon comedy that catalogues the neurotic lives of Mel (Michael Achtman) and Edna (Sarah McPhee) Edison: boy lives with girl, boy loses job, girl gets job, boy has breakdown, boy gets girl. Assaulted by noisy cars, barking dogs, loud neighbors, and Valium that doesn't work, Mel and Edna step into the ring with The City and survive, bruised and battered but still whole--and still suffering. As Mel asks...

Author: By Brian M. Sands, | Title: Second Avenue Serenade | 12/10/1980 | See Source »

TINTYPES Conceived by Mary Kyte with Mel Marvin and Gary Pearle...

Author: /time Magazine | Title: Theater: Quartet | 11/24/1980 | See Source »

...usually play defensive end--do exactly what Mel Blount of the Pittsburgh Steelers does. Well, maybe you'd better not print that, if anybody from South House reads this they'll make sure I leave the game early on Thursday...

Author: By Sara J. Nicholas, | Title: Long Live House Vikings | 11/12/1980 | See Source »

...lawyers are expected to try to persuade the trial jury that Williams, who met with the bogus sheik or his representatives eight times in eleven months, was improperly enticed by the FBI. An FBI tape played at Myers' trial records FBI Informer Mel Weinberg, who acted the role of the sheik's associate, coaching Williams on how to impress the fake Arab. Said Weinberg: "You gotta tell him how important you are. You tell him in no uncertain terms: 'Without me, there is no deal. I'm the man who's gonna open doors...

Author: /time Magazine | Title: Nation: Biggest Catch | 11/10/1980 | See Source »

...movie isn't an elaborate mechanism of self-abuse, a Rube Goldberg dildo, a film about a dead end that is a dead end for this prolific, personal film maker. Stardust Memories has much to please the eye and ear. Cinematographer Gordon Willis and Production Designer Mel Bourne have created an austere, bleached environment that gives Allen's film a look as distinctive as a Bergman or Fellini film-or, rather, a Bergman and a Fellini film. And there are enough quotable gags to fill a movie review, if not a weekend seminar at a resort hotel...

Author: /time Magazine | Title: Cinema: A Comic Master Goes for Baroque | 9/29/1980 | See Source »

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