Word: slapstickers
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...movie oils its large-scale, mechanized slapstick with some of the camaraderie of Broadway's Mister Roberts. It also wisely recruits a key enlisted man (Harvey Lembeck) from that show's original cast. Unfortunately, the script is not up to the job of sustaining the hilarity of its idea at feature length. The picture loses pressure when repeating its shenanigans, sighs windily in romantic interludes between Cooper and his WAVE wife (Jane Greer). But more frequently, when it gets up a full head of steam, U.S.S. Teakettle bubbles with...
...Brattle Theatre's present production is the first performance by an American professional company, the play's inherent actability is well-nigh a revelation--at least for American theatre goers. What is not a revelation is that the Brattle troupe is superbly suited for the rich and often slapstick humor of "Henry...
...five years Bosustow's U.P.A. has been trying to break away from such familiar Disneyisms as animal slapstick for its own sake, careful airbrushing to give figures the illusion of three dimensions, painstaking imitation of live movement. In their latest short, already delighting moviegoers at Manhattan's Paris Theater, the U.P.A. craftsmen make a clean break...
...worked his cures by coddling the singers or anyone else. His policy from the first has been "firmness-sympathy but firmness." Says one singer: "Bing is the boss. He knows it and makes everyone else know it." But the Bing firmness is tempered with wit, and even touches of slapstick. One sample last fall: when he suspected that the "illness" of one of his tenors was chiefly laziness, he rushed two doctors and an ambulance to the tenor's door in burlesque solicitude. Says Bing in his caramel-soft Viennese-British accent: "He sang that night, and very well...
Comedy becomes slapstick, courage becomes arrant braggadocio, and even the celebrated nose assumes absurd proportions under Ferrer's touch. He forgets that the one extreme about which Cyrano's character revolves is that of unswerving devotion to a personal code of honor. By removing this one characteristic of universal appeal from Cyrano, Ferrer has also taken away the element of audience self-identification, perhaps the most important aspect of the play. This is not to say that Ferrer's acting is not often superb. It is. In the balcony and convent scenes, he extracts the utmost from Rostand's brilliant...