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...fiction, and Adler's stories are more successful as illustrated lectures than as riveting narrative. It should be added that Adler is almost always a riveting lecturer. Like the legendary basilisk, she can look at a subject and turn it to stone. Speedboat is a cascade of smooth and shiny pebbles...

Author: /time Magazine | Title: Books: Basilisk | 10/11/1976 | See Source »

...never got an ending, somehow...we had to keep changing it as the front pages changed." Though Comden and Green are to be respected for not indulging in gossip or trying to play up themselves by playing off others, perhaps this matured, mellowed presentation makes their show too smooth, too digestible...

Author: By Eleni Constantine, | Title: Old Tunes | 9/28/1976 | See Source »

Hollywood movies of the '30s and '40s left no doubt about the Southern woman: she was a Jezebel. In fact, the traditional problem is not rebellion but "niceness," or what Journalist Florence King calls "the compulsive need to be sweet." A Southern woman is obliged to smooth over all social irritations with good manners and a smile. Literary Critic Josephine Hendin, writing about the late Georgia Novelist Flannery O'Connor, speaks of a Southern "politeness that engulfs every other emotion." "No matter how bad an evening has been," says Atlanta Psychiatrist Alfred Messer, a native...

Author: /time Magazine | Title: The South/sexes: The Belle: Magnolia and Iron | 9/27/1976 | See Source »

...Aldo had captured Al's countenance, it would have been something like this: a thinning silver-covered pate with remnants of the original black peeking out from beneath, all of it swept back along an unusually neat part; a smooth unflappable brow, something a gambler might try to cultivate (you cannot tell when he's riled or when a political card is up his sleeve by reading this brow); unremarkable eyebrows and ears; something of a potato nose; and the eyes of a predator bird...

Author: By Henry Griggs, | Title: Al Vellucci: Pepperoni and homemade wine | 9/24/1976 | See Source »

What finally prevents Gator from rising above its humble origins is an awkward mixture of moods that Director Reynolds never really manages to sort out and smooth over. The picture's basic ambience is rather larkish, but there are melodramatic sequences of near-Victorian sentimentality (especially in an exploration of a cathouse specializing in drugged adolescents) and others that stress a kind of Disposall-style violence. These sudden shifts in tone are disorienting and make what might have been a modestly entertaining venture into something that is unfortunately less than the sum of its several good parts...

Author: /time Magazine | Title: Cinema: White Trash | 9/20/1976 | See Source »

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