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...characterization. In 1959, Truffaut was going to be a genius. He isn't, and it's because he hasn't tried. He simply doesn't want to tax himself, and he'd prefer not to tax us either. He could make forgettable movies; he does not. There is no paradox, only the director's caution. tuned to a precise knowledge of the familiar and the comic. Truffaut makes movies that are merely funny, but makes merely funny movies almost...

Author: By Freddy Boyd, | Title: Maybe You Had to Be There | 4/21/1973 | See Source »

Cappella is a much more complicated, complete work through which we will be able to examine the author's life. Horovitz has said that a work needs the total enigma in order to find the ultimate hero. Cappella is an attempt at that paradox--the only trouble is that that paradox would make Horovitz the ultimate hero...

Author: NO WRITER ATTRIBUTED | Title: Dependency in a Surgical Ward | 3/27/1973 | See Source »

...paradox is simple: Why would a man with jazz in his head pick an African and three soul band session men as his rhythm section? The answer's someplace in Shoot Out At The Fantasy Factory. The album isn't a noticeable improvement over Low Spark: the immediate impression is hypnosis, which is why so many have called it "soporic," Shoot Out is gripping, but on the subtlest levels...

Author: By Freddy Boyd, | Title: Shoot Out at the Fantasy Factory | 2/24/1973 | See Source »

This type of paradox made Ophuls's recent week-long visit to Cambridge exasperating indeed. He came riding a wave of enthusiasm and interest in his uniquely moving style of political documentary. (Certainly the people who ran his tour felt justified in overselling series tickets, then over-hyping the films, and finally scheduling them to be shown in places too small to accomodate the crowds they had drummed up.) His appearance was billed as a true combination of the political and the artistic...

Author: By David R. Caploe, | Title: A Sense of Paradox | 2/22/1973 | See Source »

...more dazzlingly sustained discussion of ideas in dialogue. The words sing, the ideas go off like fireworks. It is like a great parliamentary debate in which the members orate arias with the omnipresent Shaw in the Speaker's chair. Behind it all is Shaw's master paradox: that hell is the kind of heaven most people crave, with the devil as a genial host offering comfort and the best of company. But heaven is for the ardent, soldierly few, driven by divine discontent and the life force, who see man only as an unending bridge to his better...

Author: /time Magazine | Title: The Theater: Classics Revisited | 1/29/1973 | See Source »

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