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...Last Night of Ballyhoo Alfred Uhry's comedy-drama could have been written in the 1950s, but that doesn't make its old-fashioned virtues any less appealing. The story of a Jewish family in Atlanta in 1939 has a keen sense of its milieu, raises tough issues of Jewish anti-Semitism and goes for honest sentiment, not sentimentality...

Author: /time Magazine | Title: THE BEST THEATER OF 1997 | 12/29/1997 | See Source »

...generations ago--two years ago, actually, given his milieu--he would have been a curiosity. Today he is something of a role model, although his attitude about this can only be called detached. "I'll walk through life and do the best I can to benefit other human beings," he says. "Feels like I'm in for the long haul, at least for this lifetime...

Author: /time Magazine | Title: BUDDHISM IN AMERICA | 10/13/1997 | See Source »

...significant that as hundreds of thousands of men crowded onto the Mall last Saturday, not one single woman was to be spotted among the Bible-toting milieu--except those vending concessions and souvenirs...

Author: By Molly Hennessy-fiske, | Title: Secrets and Lies | 10/8/1997 | See Source »

...world with elaborate, often suffocating behavioral codes that its inhabitants try desperately to obey--this is the milieu of all five of the Taiwanese director's films, from his Mandarin-language "Father Knows Best trilogy" (Pushing Hands, The Wedding Banquet, Eat Drink Man Woman) to Sense and Sensibility and The Ice Storm. His characters' failure to achieve an artificial ideal makes the films both comedies of manners and bourgeois tragedies. Especially this one, thanks to a superb script by Lee's frequent collaborator James Schamus. When Janey joins Elena in her kitchen to help with the dishes, the hostess whispers...

Author: /time Magazine | Title: CINEMA: LEFT OUT IN THE COLD | 9/29/1997 | See Source »

...Life is far from perfect. While startlingly raw for Broadway (the hookers are grungy, fleshy and foul-mouthed), the milieu will seem old hat to anyone who has seen, say, an episode of NYPD Blue, and the melodrama is often heavy-handed. What transforms the show is Coleman's vital, jazzy score--his best since Sweet Charity--and Michael Blakemore's crisp, less-is-more staging. The show starts out in high gear with an infectiously cynical ode to self-interest (Use What You Got), sung by hustler-narrator Jojo (the excellent Sam Harris), and keeps topping itself. Lillias White...

Author: /time Magazine | Title: BRING IN 'DA TUNESMITHS | 5/5/1997 | See Source »

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