Word: mother
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Dates: during 1970-1979
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...Sings, the Other Doesn't. This is a nice film about women's liberation. But nice is unfortunately all. Yes, it does tell the story of two likeable and very different women, a wild-haired non-conformist pop singer (Valerie Mairess) and a reserved, soulful-eyed young mother (Therese Liotard) devoted to her two children. Yes, it does portray the lasting, supportive friendship between the two in a way that few films have examined women's relationships before, since movies have largely been a man's medium and most male directors don't have that experience to draw...
...vacationing together last week (the Concord was never so supersonic...), and one night in the dining hall, as the waiter was bringing around those gorgeous little kreplachs, Shecky mounted the table and spontaneously burst into a series of his best jokes ever. Then, faster than you could say, "My mother-in-law is so annoying that..," he'd launched into an evocative Totie Fields imitation, and the dining room crowd--all of whom had long since stopped eating--either sat spellbound or rolled in terminal hysterics on the floor. In the schvitz-bath the next morning, I asked him what...
...Live-Life-to-the-Full Theory. Look at it this way: in five years you won't remember your grade in whatever course you're cramming for. Your mother might--but you won't. And neither will your roommate, your tutor, or whoever's teaching the course. What you will remember is a fantastic evening's entertainment. So what are you waiting for? You never know, you might be missing a once-in-a-lifetime experience...
Marguerite Walker '80, the other undergraduate mother, will transfer her child to the Holden Center shortly...
...resemblance to Oh God!. Where's Poppa?, for example, was pervaded by a manic hysteria, and peopled by feverish buffoons whose monomaniacal intensities constantly collided, resulting in sprawling calamities that were often exhaustingly funny. George Segal's wild-eyed sexual/homicidal obsessions (frustrated at every turn by his incessantly doddering mother, Ruth Gordon) produced scenes of comic genius, and in a lesser film, like The Comic, such moments successfully diverted attention from Reiner's maudlin tendencies in his quieter scenes. But in Oh God! the maudlin preponderates; Reiner chooses, for reasons of his own, to be "laid back," ignoring his real...