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...refuses to keep a straight face before some of the pious obsessions of the contemporary world and stage. Eli Wallach. Anne Jackson and Alan Arkin are delectably right for their roles...

Author: /time Magazine | Title: Television: Jan. 1, 1965 | 1/1/1965 | See Source »

...refuses to keep a straight face before some of the pious obsessions of the contemporary world and stage. Eli Wallach, Alan Arkin and Anne Jackson do honor to Murray Schisgal's comedy and Mike Nichols' direction as they rant and romp on a bridge...

Author: /time Magazine | Title: On Broadway: Dec. 25, 1964 | 12/25/1964 | See Source »

...where human nature is concerned, change changes nothing. Like the classic writers of comedy, he is involved with human limits, not possibilities, and with the saving common sense that mocks self-pity and self-absorption. Unlike his characters, he refuses to keep a straight face before some of the pious obsessions of the contemporary world and stage-alienation, loss of identity, inability to communicate, homosexuality, existentialism, Freudianism, self-expression and the meaninglessness of it all. In Luv, he devastates these themes in a holocaust of laughter...

Author: /time Magazine | Title: Theater: Three for the Seesaw | 11/20/1964 | See Source »

...inconceivable that a vote could be cast for the Republican candidates. Goldwater's childish approach to foreign policy, simplistic criticism of "big government," irresponsible stand on civil rights and unconscionable vote on the Test Ban Treaty head the list of his disqualifications for the Presidency. His pious platitudes, vaulting contradictions, and historical blindness combined with his thinly veiled exploitation of fear and prejudice mark Goldwater as a thoroughly bankrupt candidate. And as Know-Nothingism incarnate ("In your heart you know he's right"), Goldwater has demonstrated his lack of intelligence with appalling frequency; his election would be nothing less than...

Author: NO WRITER ATTRIBUTED | Title: Johnson for President | 10/20/1964 | See Source »

Cynical Hymns. While Lovely War has the cumulative impact of an artillery barrage, the show's tone evolves from fragmentary vignettes. Here is Field Marshal Sir Douglas Haig, whose suicidal "big pushes" cost more than 500,000 lives, announcing with pious conviction: "Machine-gun bullets have no stopping power against the horse." Here are veterans of phosgene attacks sardonically harmonizing "Gassed last night, and gassed the night before," followed closely by a home-front operatic duo warbling Roses of Picardy. There is a moving hands-across-the-trenches interlude in which German and British troops put down their guns...

Author: /time Magazine | Title: Theater: Laughter in Hell | 10/9/1964 | See Source »

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