Word: revelations
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Dates: during 1970-1979
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...unreconstructed hypochondriac, he had headaches, cramps, insomnia and a nervous stomach from worrying-largely about his headaches, cramps, insomnia and stomach. Though some of his ailments, such as slipped discs, bone chips, blood clots, pulled muscles and malaria, were undoubtedly for real, Pirate fans came to expect and even revel in the complaints of "Mr. Aches and Pains." It was almost axiomatic that the worse Roberto said he felt, the better he played. "If Clemente can walk," the New York Mets' Tommy Agee said before the 1972 season, "he can hit." Hit he did, registering a .300-plus average...
...only by Edgar's threat to reveal Kurt's history of embezzlement. But a final seizure takes Edgar out of the picture, leaving him paralyzed. He states inanely at the audience and groans out words which only his wife can translate for us. Kurt leaves husband and wife to revel in their misery...
...Andy Warhol epigone Paul Morrissey, who, like his master, exploits the sorry selection of freaks who have been recruited for the cast. Thus the audience is invited to have a good laugh at the gargoyle visage of Miles, chortle over Dallesandro's near-autistic blankness, and revel in the antics of an obese motel owner, and a schizophrenic lesbian. The lazy profanity and the grungy, grim quality of Heat's ambidextrous sexuality will be familiar and predictable to Warhol addicts. What is despicable about Heat is the way it both flaunts and mocks the grotesqueries of its cast...
Arab audiences revel in mellifluous oratory. Last week Egyptian President Anwar Sadat rewarded the Arab Socialist Union Congress with a first-class example of it. Mopping his brow often in a sultry hall, modulating his voice from whisper to thespian holler, Sadat delivered a largely off-the-cuff speech that was twice as long as any address delivered by his predecessor, Gamal Abdel Nasser, and every bit as dramatic. Excerpts...
After the first hurrahs for The Godfather, critical reaction to the movie has snagged on a few key questions. Does it revel in Hollywood gangster melodrama? Does it sentimentalize the Mafia? Does it present the Mob as a metaphor for all business or politics? One of TIME's cinema critics gives his assessment...