Word: wildered
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Dates: during 1970-1979
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Those attending are Drinkwater, a former Boston lawyer, Philip P, Chase, former University Marshal, George H. Wilder, former New York stockbroker, and Frank W. Buxton, former publisher of the Boston Herald...
...wilder urban system is Dorothy Proctor's plot to install a love-in on every park bench. Her life-sized fiberglass grandmas, boy-with-dogs, and hand-holding couples may be seated throughout Boston. Each sculpture would leave room for six live people on a bench. So, according to the artist, "You could put your head on a girl's lap or lean against Grandma, and a child could pat the dog without damage to either." A less cozy proposal specifices concrete benches-figures and bench would be cast as one piece...
...anyone to lose his head over critical objections. The film's condemned premise is that the revolution could have been averted. The Duke de Sisi of Corsica and a bumptious farmer have their respective sets of twin boys mixed up by. a harried doctor. One unmatched pair (Gene Wilder and Donald Sutherland) become the murderous, exquisitely aberrant "Corsican Brothers," existing on the perfumed fringes of the aristocracy. The other two (also Wilder and Sutherland) grow up to be swinish revolutionary hangers...
Incipient Insanity. What keeps this centrifugal production from flying apart is extravagantly funny performances by Wilder, Griffith and-especially-Sutherland. Wilder's frenetic talents are perfectly pitched to the neurasthenic Philippe de Sisi. Griffith wears his patented oblique stare of incipient insanity as the feckless, fatuous Louis. Sutherland is both immensely vital and painstakingly subtle. His lumbering lout is a Gallic version of Steinbeck's Lennie. Yet with a tiny moue he transforms the sow's-ear peasant into a silken, purse-lipped aristocrat. Alternately bumbling and mincing, Sutherland irreverently manages to impale both egalite and elegance...
...incitements to revolution drew a disproportionate amount of attention during his lifetime. But the angry and occasionally outrageous things that he said seemed wilder then than they do today. Malcolm X's characteristic tone was not flailing rage. It was a kind of savage, pragmatic skepticism about American liberal institutions and a sense that in the U.S., whites, collectively and historically, have been and still are a disaster for blacks. He refused to be grateful for empty favors. "Fm not going to sit at your table," he once said, "and watch you eat, with nothing on my plate...