Word: slicking
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Dates: during 1970-1979
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...album, a superfunky update of a thirties song called "Beware, Brother Beware," more than compensates, however. The lyrics, a warning to single men to be on the look-out for those women who are out to turn them into husbands, is a perfect vehicle for Bromberg's city-slick, street-wise voice. With a tight horn section and the funkiest of rhythm sections behind him, he warns the poor unsuspecting male...
...kids. There are, however, few conversations that don't contain personal details. "I'm just trying to understand them for what they are--namely grown men trapped in boys' bodies," Jerry Funderberg says. "They get away with it 99 per cent of the time and think they're slick. I was the same and I can tell them about me," he adds, and proceeds to do so--complete with descriptions of armed robberies and an imaginary slash down the chest of a visitor to represent the attempted murder that explains what brought him to Walpole...
...bouncy, foot-tapping rhythm. Somehow, with an orchestra in the background, even the worst puns seem downright clever (even the heroine's tuneful realization of her love for Quasimodo--"Something 'Bout That Man That Rings a Bell"--is forgiveable). And for the big production numbers, Clarissa Bushman's slick choreography is good enough to keep even the most devoted Busby Berkely fan contented...
...lecherous but cowardly Captain Phoebus de Chateaupers and Maury Levin, as the lecherous but frustrated poet Pierre, also do their best with the weak script, while Stacy Stein shines as the unqualifiedly lecherous Archdeacon Frollo. Perhaps the best performance, though, comes from Fred Barton, who plays the politically slick hosier Jacques Coppenole. With a strong voice and an ingratiating smile, Barton is perfect for his role, and steals the show early on with a phenomenal Bert Parks imitation that highlights an ingenious parody of the Miss America pageant...
...succession of one-night lovers. Tuesday Weld provides an unmemorable contrast to Keaton as Dunn's capricious older sister Katherine, relying too heavily on the character's caricaturish whackiness to carry her through the part. Richard Brooks' direction and adaptation of Judith Rossner's best-selling novel is sufficiently slick to draw crowds to the box office, but the film can be filed as another victim to the typical superficiality of American movies. Sharp witticisms and flashy techniques keep the movie's pace upbeat, while Brooks neglects Dunn's broader significance as prototypical single woman vainly coping with today...