Word: taxis
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Dates: during 1980-1989
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...smile and a wet T shirt-have already buoyed the network's ratings. A third show, which is being tested at 10 p.m. on Thursdays and Saturdays, offers even more. It is a comedy-drama called Hill Street Blues, and it is the best new series since Taxi...
...cyclops eye wide enough to recognize that Americans don't spend all of their time on the Ponderosa spread or in suburban kitchens. Some people actually work for a living, and those people became the focus for some of TV's finest series: Mary Tyler Moore, Taxi, Lou Grant, WKRP in Cincinnati (all by craftsmen who worked for, or had graduated from, MTM Enterprises). In Hill Street Blues (written for MTM by Steven Bochco and Michael Kozoll, and directed by Robert Butler), all is motion and commotion; for Hill Street is part of a nameless inner city...
...film. In scene after scene, behavioral comedy attempts to engage in a dialogue with slapstick satire. But these are different comic languages, and the two forms finally fall silent in defeat. Maybe Henry should appear on TV less and watch it more. Any episode of M*A*S*H, Taxi or The Muppet Show has more laughs and pathos per minute than this impeachable farce...
...trampled in the crowd riot) to the church social hall (where drunks are thrown out by bouncers) to the Copacabana (site of a huge brawl) to the kitchen and dinner table. Cathy Moriarty, stunning in her debut as LaMotta's wife Vicki, is as beautiful, in her way, as Taxi Driver's Cybill Shepard; but for the pristine campaign worker, Scorsese has substituted a passive, pliable coital robot. And it all ends with LaMotta, less than glorious in his heydey, the Raging Whale, even painful to look at, unable to get around his titanic belly to hug his brother. Everything...
...other. Now, it's perfectly all right to believe that we are nothing but animals; but if you really believe it, go live in a barn--don't make movies about it. The implication of Scorsese's movie is that we live like animals, he lives like a director. Taxi Driver was nihilistic, but the view was Travis's; and if we suspected all along that it was Scorsese's as well, that was incidental. Raging Bull, unmediated by any narrator, reveals only the diseased, morbid horror of Scorsese's mind. It is a paranoid vision of America...