Word: partings
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Dates: during 1970-1979
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Cheng had been actively involved in civil rights work since the early 1960s, when he took part in school boycotts in Detroit for racial desegregation. He was also active in the Freedom Rides and voter registration programs in Mississippi...
...Delp, the homecoming meant a return to a track where his loud clothes and louder boasts are accepted as part of racing, rather than viewed as an affront to the sport's traditions. Pausing to insert a cigarette in a new golden holder, and watching to see that the photographers had a good angle, Delp held forth: "My horse is gonna win. I predict that now. My horse is gonna win unless he breaks his leg or his neck...
...ahead, attempting another impersonation. Same accent. Same tone. Same delivery. Now the fear hits again, so bad this time that he forgets everything . . . and has to go back to the start of the act. He takes it all from the top. Already accomplice in his fate, the audience becomes part of his misery, both the reason and redemption for it. The man will not stop, either. Finally he bails himself out with a saving, dazzlingly accurate impersonation of Elvis Presley...
...early to know that Susan Kingsley is giving one of the memorable performances of the season. Her Arlene is more than brilliant acting; it is a revelation of the human spirit in extremis. Pamela Reed's Arlie has a stinging honesty that stems, in part, from never prettifying a particularly loathsome brat. Getting Out, Marsha Norman's first play, was initially staged at Jon Jory's Actors Theater of Louisville, and had a brief run at Marymount Manhattan's Phoenix last fall. Now tenanted in Greenwich Village at the Theater de Lys, it promises...
...least some inherently cinematic aspects to that novel, and the director's defects did not appear quite so plainly. In Portrait it becomes clear that Strick cannot even handle straightforward dramatic scenes energetically and forcefully. Nor is he very good with actors. Bosco Hogan, who looks the part of Stephen, cannot find the wit, rage and irony that are there to be mined, and no one else is permitted to explode emotionally either. The result is a film without drive, lilt or vision. Portrait is an academic reading of a classic, faithful in its way to the overall structure...