Word: reliefs
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Dates: during 1970-1979
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...proceeds pretty much as expected, but begins to drag when the gags rarely rise above overplayed puns (Wife: "I haven't finished putting on my face." Husband: "Did your chisel break?") Predictable references to topical material (Dane refusing to fight the Grendels: "My lottery number is 360") are no relief. Fortunately director Fred Carmichael has done an admirable job in milking every bit of humor out of a sparse text and occasionally sparse talent. Christopher Tunnard is a particular disappointment, short of comic timing and vocal talent. Jack Olive, on the other hand, has the vigorous, obscene Hotrocs well under...
...through its own formal order. As it happens, that is the film's strength. It's a mistake to say that it should have been faster-paced, tighter, subtler, or more inventive. Its weight and scale are such that tampering with its speed, or adding inessential background incidents for relief, would add nothing to the essential structure and beauty of the film...
...organizing to improve their living and working conditions; he inspired Cesar Chavez's effort to organize California's grape pickers. His strategy was emulated by the Federal Government in its antipoverty and model-cities programs: the poor have been encouraged to participate in measures for their relief instead of just accepting handouts...
...spine in it. He traps the temper of the times, the currents of rebellion and uneasiness that almost visibly pollute the daily air. His clerical teachers are paralyzed by the lack of the very authority that they ought to represent. One priest, Father Penny (David Rounds), provides comic relief by the scabrously funny asides he delivers on his own so-called vocation. But Marasco strains rather portentously to make his troubled school a metaphor for a sick .world, and fails. Despite the fact that Marasco once taught in a boys' school, he seems not to know that children...
Nicholas of Verdun, one of the few to sign his pieces, molded a large ornate gilt box with a sloping roof, as a shrine to the Virgin. Decorated columns divide the space where figures in relief act out scenes from the Virgin's life. Dressed in heavy gold drapery, resting on a jeweled background, the figures seem half involved with the action and half aware of the spectator. None of the other works in the show possess this shocking brilliance, yet most deal with thinking human beings acting in religious scenes. The artists begin to explore the feelings...