Word: role
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Dates: during 1960-1969
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...Kunstler, a Manhattan attorney, is a kind of courtroom paladin who specializes in protecting the right of dissent and even civil disobedience His recent clients include the Black Panthers, Negro Militant Rap Brown Yippie Jerry Rubin, and Roman Catholic draft protesters in Milwaukee and Baltimore. Since Kunstler's role is usually to attack well-entrenched precedent he can be counted on for an original pro vocative argument...
...unblushing preseason review of his new NBC show Julia, the first TV series to focus on a Negro family. "Julia will be an opportunity to show the world how black people live," chimed in Diahann Carroll, late of Broadway (No Strings) and Hollywood (Hurry Sundown), who plays the title role...
...their patients' illnesses simply as "URD" or "URI" (for upper respiratory disease, or upper respiratory infection) and let it go at that. Whatever its nature, the illness was emptying schools and offices, stripping military installations of active-duty personnel, and decimating Broadway casts. Jane Morgan in the title role and eight other players in Mame had to yield their places to understudies. The cast of George Ml had five out. Playing the barber in Man of La Mancha, Leo Blum became so ill that he fell off the stage, and since his understudy was ill, the stage manager...
...been thrown away and the footnotes published. If it has any style, it might be called urban picaresque. In his Greenwich .Village flat. Jimmy (Dustin Hoffman) stumbles through episodes from his past, present and fantasy lives. Several of the scenes, and Hoffman's part itself, recall his film role as a social dropout in The Graduate. Though the audience never sees him painting, Jimmy is an abstractionist and a dud at it. He is a glutton for humiliation. As "the only abstract painter in the Village who isn't getting laid," he keeps steady dates with a prostitute...
Vibrant Presence. What makes Jim my more winning than his fate is Dustin Hoffman's bravura performance. It should not be confused with acting. Hoffman does not begin to submerge his identity in the role, which is an essential of great acting. He simply projects the vibrancy of his own presence. He looks the way Buster Keaton may have as a child-and like a child, he loves to show off and mimic. He is so obviously pleased with himself when he apes Groucho Marx's loping stance or speaks with W. C. Fields' adenoidal sneer that...