Word: versions
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Dates: during 1960-1969
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...what it lacked in finesse. Hitting the Broadway boards via a discotheque, it developed a larger cast of "hippies," a more forced spontaneity, a more self-conscious spirit. Recordings by both casts reflect the differences. The Public Theater cut is not as fully orchestrated and slick as the Broadway version, but it rings truer to the style of life and state of being it celebrates. Both communicate a lusty enthusiasm. The fresh Air ("Welcome, sulfur dioxide, Hello, carbon monoxide"), the moving Frank Mills ("I love him, but it embarrasses me to walk down the street with him"), and the optimistic...
...align existing laws with the idealistic document. It is no easy task. The constitution strongly reflects contemporary Western notions of justice, but much of Viet Nam's legal structure is still based on the philosophical teachings of Confucius. To make matters worse, Vietnamese statutes include a bastardized version of the Napoleonic Code, and there is a confusing body of case law arising from decisions reached by wartime courts set up in haste by the government...
PROMISES, PROMISES, by Neil Simon (The Odd Couple). Starring Jerry Orbach, the frenetic schnook from Scuba Duba. Directed by Robert Moore, who staged the off-Broadway hit The Boys in the Band. Stage version of the movie The Apartment...
...Finch) who tells Star Novak: "You're an illusion. Without me you don't exist." And the tyrannical studio head (Ernest Borgnine) who has monograms even on his toilet seats. And even the lesbian pass-made in this case by Italy's Rossella Falk, whose slinky version of a dope-shooting dyke is the best bit in the film. Director Robert Aldrich, who cut close to the Hollywood bone 13 years ago with The Big Knife, moved on to more forthright mayhem with What Ever Happened to Baby Jane, Hush . . . Hush Sweet Charlotte and The Dirty Dozen...
...beauty. Though Paxinou's part is minuscule, her gravitational field exerts enough force to draw every scene toward her. But despite Zita's undoubted appeal to dreamy young girls, an interesting young star and a grand old pro are not enough to support yet another tremulous version of the girl-in-a-woman's-body theme. Director Robert Enrico tries to lend his slender scenario some contemporary relevance by forcibly inserting a variety of fashionable camera techniques and casting a Negro Maoist. Though his color photography begins effectively-notably in Zita's terror-glazed recollections...