Word: rhinos
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Dates: during 1970-1979
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...counterparts who bow a welcome. Next comes a "Renaissance Midway," lined with circus wagons exhibiting such Krofftian put-ons as the Fat Lady, who turns out to be a performer garbed as a super-porker, and the Tattooed Lady, who is costumed as the world's only sexy rhino. Melody pours from a marvel designed by one Nick O'Lodeon, which features 29 instruments. A belly dancer gyrates, jugglers toss balls, and minstrels stroll. On the next level is a nonstop vaudeville show and a sparkling crystal carousel filled with dolphins, Pegasi, centaurs, griffins...
...Yankee pitcher who threw curves at the baseball establishment with Ball Four, his 1970 book about drinking, dallying and other big-league peccadilloes. The two are preparing a fall TV series (titled Ball Four) in which Bouton portrays a so-so relief pitcher and Davidson plays a catcher named Rhino. How did a 6-ft. 7-in., 275-lb. ex-football star get a job in a comedy series about baseball? "He came in to audition and said he wanted the part. We didn't have the courage to say no," claims Bouton. And how is Davidson...
...piles, chains and tires. Instead of effacing their weight, Buchman's sculptures proclaim it: heaviness, the state of being dug from and bound to the earth, is part of their meaning. The stone is not carved. The lumps stand as they came from the rock pile, craggy and rhino-gray: one thinks of them as things, not as material, and each sculpture becomes a kind of frozen juggling act with five-ton skittles...
...ironies are cool and geometric, his surrealism couched in subtle refractions of the ordinary. His work benefits from a naturalistic approach that reinforces the absurdity by contrasting it. Instead, O'Horgan clobbers the play with a bladder of tacky tricks, like shaking the camera to represent a rhino's point of view, staging a coy, clumsy dream sequence, and including a score by Gait MacDermot (Hair) suitable for rebroadcast in office elevators...
...production, Critic Robert Brustein observed that "Mostel has a great dancer's control of movement, a great actor's control of voice, a great mime's control of facial expression." The film preserves Mostel's virtuoso performance, including a long, bumpy transformation from man into rhino. But the control that Brustein admired is not so apparent under O'Horgan's direction. Mostel, unchecked and unchallenged, easily skids into self-parody. Still, his billowing, bellowing metamorphosis into another member of the herd does provide the movie's only moments of real laughter, fleeting...