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...goes wherever Hart leads his surreal campaign. His supporters are more curious than committed. He draws large, enthusiastic crowds only where they count least -- in shopping malls and on college campuses. Young boys on bicycles in Jackson, Ga., know his name...

Author: /time Magazine | Title: Campaign Journal The One Who Can't Win | 2/1/1988 | See Source »

...their crisp, brutal simplicities, which coexisted in surreal stagecraft with hallucinations and mirages, masterpieces of illusion and self- delusion. Many of the young, for example, cherished (almost autoerotically) the illusion that they were part of "the Revolution," a force of history that would overthrow the power structure in the U.S. And illusion was an indispensable instrument of the war effort: the "body count," for example, or the "light at the end of the tunnel," the longed-for illumination, never seen, that would indicate that victory and salvation were near. At the close of 1967, the official invocation of the light...

Author: /time Magazine | Title: 1968 Like a knife blade, the year severed past from future | 1/11/1988 | See Source »

THREE POSTCARDS A delicately surreal play with music bringing together three women for a dinner that yields expected revelations in unexpected ways. From South Coast Rep in Costa Mesa, Calif., an unlikely but thriving venue for new work...

Author: /time Magazine | Title: Theater: Best of '87: Theater | 1/4/1988 | See Source »

Adrian Cronauer is a military misfit. As protagonist of the first major service comedy about Viet Nam -- and what sometimes seems to be the last, dead-on surreal word on the subject -- he appears in Saigon in 1965 out of uniform and out of step with army manners, protocol and discipline. An irrepressibly irreverent motormouth, he is unable to fit the format of Armed Forces Radio (basically hygiene lectures and Mantovani records), where he is the new disk jockey...

Author: /time Magazine | Title: Cinema: Motormouth In Saigon GOOD MORNING, VIETNAM | 12/28/1987 | See Source »

...Kureishi and Frears also toss in some surreal and offbeat moments that are especially unique and funny. Rosie demonstrates the socio-political implications of "snogging" by kissing three men while watching a TV program on the mating habits of lions. Street musicians perform the Temptation's "My Girl," including Motown-style choreography, while the camera cuts between scenes of various couples trysting. Sammy's mistress, Anna (Wendy Gazelle), a New York photographer, has a "w" tattooed on each buttock "so that when I bend over, it spells...

Author: By Gary L. Susman, | Title: Return of the Naive | 11/13/1987 | See Source »

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