Word: morleys
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Dates: during 1960-1969
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...most successful modern users of the camera as an aid to painting are the U.S.'s Howard Kanovitz and Britain's Malcolm Morley, both of whom use photography as a way to probe that old Platonic question. Says Kanovitz: "Certainly the film Rashomon and, more recently, the Warren Commission report illustrate how impossible it is to 'tell it the way it really is.' " Adds Morley: "Realism hasn't even been dealt with in the 20th century. The Ashcan School were all preachers, and pop artists are busy trying to make their painting abstract...
...Association: for having a smooth, tough, nylon point that won't push down." And you've got three trumpets going, and an announcer comes back in and says, "Flair even looks like a better way to write." We would play it very straight. Very pompous. Like Robert Morley's voice when he says these words. You get a kind of electricity between the silliness...
...hero, John Morley (Zero Mostel) is, by self-definition, "a flaming faggot." He is also a zany, successful author who has never paid his income tax. The I.R.S. has ferreted out his secret, and Morley has been forced to throw himself on the mercy of tax advisers. His chief consultant, Irving Spaatz (Jules Munshin), is a legal weasel of wizardry inventiveness. Munshin plays the role in droll fashion and is astonishingly agile at working his way through a verbal tax maze of inflated gibberish that includes explanations of convertible debentures, spinoffs, and sale-leaseback arrangements...
...first tax advantage nearly fells Morley. Spaatz tells him that it would be economically advisable for him to marry-and the helpful tax man even supplies a woman: the city's leading whore (Chris Richard). Morley is aghast. "To marry a woman would be a betrayal of my identity," he whines as he minces about in an elephantine parody of homosexuality. But marry he does, and he is transformed by Chayefskyean legerdemain into a happy, prospective father. To his considerable grief, the child is stillborn. Meantime, with his tax man spurring him on, Morley has acquired a corporate identity...
...progress of the play is really the gradual zombification of Morley as physical debility betokens his psychic decay. He develops a limp, then cannot stand up at all as his arms and legs go rigid. Sitting mutely in a chair as if immobilized by a stroke, he seems to live only with his eyes, which roll in a fine frenzy as his latest financial coups are related to him by the omnipresent Spaatz. The time inevitably comes to get divorced for tax purposes, and then Morley kills himself-for tax purposes. In a final scene of immense sadness and gravity...