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Died. Stan Laurel, 74, slim, sad-eyed master mime who with the late Oliver Hardy made some 300 of Hollywood's slaphappiest movies in the 1920s, '30s and '40s; of a heart attack; in Santa Monica, Calif. A onetime London music hall comic, Laurel was the brain behind the gags and the on-screen butt of them all, the watery-eyed, squeaky-voiced noodlehead who caught Jean Harlow's dress in a car door in Double Whoopee and absorbed the custard pies in The Battle of the Century, spilled the paint, upset the ladders and destroyed...

Author: /time Magazine | Title: Milestones: Mar. 5, 1965 | 3/5/1965 | See Source »

Pantomime speaks in a universal language, and it is usually baby talk. At New York's City Center, the Polish Mime Theater has added music, choreography and a variety of props to the basic vocabulary, all to no avail. The company puts extravagant technical competence at the service of canary-brained ideas...

Author: /time Magazine | Title: Pantomime: Angst Merchants in BVDs | 1/15/1965 | See Source »

...Marcel Marceau has proved, a brilliant mime can reveal wistful, grief-stricken and joyous states of human feeling. But after an evening of planned misery with the Polish Mime Theater, one merely wonders if Communism can really be all that...

Author: /time Magazine | Title: Pantomime: Angst Merchants in BVDs | 1/15/1965 | See Source »

Harness for Three. Symbolism soon begins to snowball: the mime helps a weary roustabout water his elephants, sits in for a Negro in an "African Dip" show while a wicked white man throws baseballs at him, rescues a pretty girl from an evil magician. He and his followers (the elephant man, the Negro, the girl) break up the act of Magnus and his Living Marionettes by entering the tent to brush the shoes of all the children in the audience. The Living Marionettes are hauled down from their harnesses; Magnus is furious...

Author: /time Magazine | Title: Protestants: Christ in Grease Paint | 4/24/1964 | See Source »

...slavery ("Rainbow 'Round My Shoulder"), modes of Christian religion ("Blood of the Lamb"), and the occasional horror of growing up in the streets ("Games."). All these themes could be powerfully interpreted in dance, but McKayle's choreography was weak. He seemed to rely on, rather than dominate, the attendant mime and singing. Instead of the dance patterns the viewer remembers the "Two little babies lyin' in bed; one plain sick, the other plain dead. Called the doctor, the doctor said: give them babies some shortnen' bread...

Author: By Peggy VON Szeliski., | Title: Company and McKayle | 11/20/1963 | See Source »

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