Word: pairing
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Dates: during 1960-1969
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HENRY, SWEET HENRY lured theatergoers into picking up $400,000 worth of tickets in advance of its opening. These venture-capitalists have a dismal evening in store for them. The musical concerns itself with a pair of schoolgirls who spend off-hours spying on a concert-stage idol (Don Ameche). When he is not pounding the keyboard, he dallies with suburban and urban matrons. The music is tuneless, the lyrics witless, and the dances could pass for mass hopscotch...
...produce a doorknob that always turns, a door that closes properly, a light fixture that works on the first try, a toilet that flushes consistently. The average Russian's clothes are shabby, ill-fitting and expensive; it takes half a month's wages to buy a pair of shoes. His diet is dependent on the seasons and painfully monotonous. On the average, the Russian has only nine square yards of space in which to live, and young newlyweds normally stay with their parents for the first few years of their marriage. Only one Russian...
Grizzly!, the first special in the National Geographic Society series, focused mostly on 51-year-old twin brothers, Frank and John Craighead, a pair of wildlife biologists who track, drug, tag, and record the habits of grizzlies in Yellowstone and Grand Teton national parks. Best shot: a bear wakes with a roar from his drug-induced slumber and charges head-on into the side of the Craigheads' car. The Craigheads, though, are the real stars; urban viewers can only admire the intelligence and understanding with which they impart to their children a respect and fascination for natural life...
That ragged orphan, public television,* has got a new pair of shoes. The Ford Foundation went on camera this week with the Public Broadcast Laboratory (PBL), a $10 million, two-hour Sunday-night experimental series aimed at proving that noncommercial television can be worth watching. And in Washington, President Johnson had on his desk, ready for signature, the Public Broadcasting Act of 1967. It provides the first federal subsidy for TV programming, to be administered by a 15-man Public Television Corporation...
Then two more passengers arrive: a pair of horrifying punks (Tony Musante and Martin Sheen) high on muscatel and low on decency. By turns wildly obstreperous and slimily cozy, they work their way up and down the car, baiting here, pummeling there, lucid only in their awareness of their own power to shock and paralyze. The numbed passengers can only respond in ineffectual cliches. "What kind of people are you?" screams one, all too aware of the answer. The Negro (Brock Peters), sensing in the punks' violence a kindred spirit, attempts to make friends, is brutally rebuffed, and finally...