Word: segale
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Dates: during 1970-1979
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...grants the play a fresh resonance. The interdependence of George and Lennie is far more poignant and tragic than in the original. Indeed, it is doubtful whether the play would have been producible in the old style (a 1968 TV revival with Nicol Williamson and George Segal was two hours of dead air). Matters have reversed themselves since Steinbeck's day, when words were the masters of the stage. Today, as Conway and Jones prove, it is the singer, not the song...
...Pussycat, with Barbara Streisand and George Segal. Friday and Saturday, Sept...
...substance is hard to find--if the kid upstairs was listening to one particular drunken conversation down there he'd be asleep in no time: it's just the chorus that keeps him wide-eyed. So when George Segal can't stand up to scrutiny because it's cliched, or when Eliot Gould's gambler is shallow, it's no reflection on the excellent performances or the overall intelligence of the film...
...Segal has to escape from the office to go to the track and when the horses are running his very soul is clenched. He's desperate. While Gould follows the action ("I gotta be near the action," he says, and he means any kind), Segal follows the "feeling" ("I had it! I had it!"). It's Dostoyevsky's kind of gambling: you gamble because you're trying to win back an unknown something you lost a long time ago. Segal lives thinking the odds are stacked against him. He's separated from his wife, he's in debt...
...Froot Loops and beer, where people "crash" when their "action" cycle runs out, where an aging hooker named Barbara gropes around looking for "The Guide." They're all too exhilirated by the California high to be sordid, and Gould's love of gambling for its own sake undercuts Segal's tortured loser. With these two side by side the film can't have any point of view about gambling--it just shows how it works...