Word: overlong
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Dates: during 1960-1969
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Irony is the keynote to this droll, dry novel. In it Author Sheed, book editor and drama critic for Commonweal, continues the dissection of contemporary life that he began in The Hack. The book is overlong, as though Author Sheed feared that the reader would not easily take his point; and only its protagonist comes vividly to life. But in its cool compassion and amused impatience with self-deceit, it is a perceptive guidebook through the wilds of a modern marriage...
...Chambers is an extraordinarily well-balanced play. It ranges from sight gags to Baudelaire, from terror to frivolity, with admirable ease. Despite several overlong scene changes that run the play to two and a half hours, Forman keeps the action moving skillfully. He sends the actors winding in and out of Patty Grimes' sets with only candles for light, suggesting the endless passages in the enormous house. He keeps Wake waiting at the house's gate for at least two minutes until the student's unease spreads to the audience...
Becoming a Man. His childhood in Switzerland was as sheltered as an artist could hope for. The major trauma of his early recollections was being forced to wear overlong underwear at age three, and even that incident he treasured as an early assertion of his "aesthetic sensibility." And if he needed any corroboration, he was simultaneously registering "very precocious, yet extremely intense impressions of the beauty of little girls. I was sorry I was not a girl myself so I could wear ravishing, lace-trimmed white panties...
...hoofing it with a quartet of penguins or leading the sooty male chorus in a raffish rooftop ballet. Ed Wynn, as the risible Uncle Albert, floats upward every time he laughs, and soon has everyone aloft for the movie's most engaging scene, a high high tea. Though overlong and sometimes over-cute, Mary Poppins is the drollest Disney film in decades, a feat of prestidigitation with many more lifts than lapses...
...quite regularly, it was not because they had defined their characters so precisely that the audience could see what they were thinking--as is necessary in a play set in another period--but because the audience was so familiar with the various characters they portrayed. If Miss Wilson waited overlong before saying something, and spoke in a vague tone, the audience responded to her as to other ingenues they had known. If at the next moment she retorted quickly, they rejoiced at the sharp cliffie they saw in her. So with Gebow. If at one moment he seemed honestly disillusioned...