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...because he takes so seriously the needs they are failing to answer. Just as all art strives to be music, "every organization," Sheed assumes, "strives to be a religion." The true believers signaling wildly inside every American joiner, he concludes, "already wander the streets looking for stranger cults, wilder religions. The more bloodless buy books called You're Really a Terrific Person, desperately making the most of what's left when you lose defining associations." In the end, outside-insiders play prophet rather than reporter and are subject to a certain amount of repetition. Sheed's warnings...

Author: /time Magazine | Title: Books: Bark and Bite | 1/6/1975 | See Source »

Directed by MEL BROOKS Screenplay by GENE WILDER and MEL BROOKS...

Author: /time Magazine | Title: Cinema: Monster Mash | 12/30/1974 | See Source »

...Mary Shelley's classic. The Shelley story ought to have turned wormy by this time from virtually constant exposure. It is, however, still a powerful myth. One good measure of its resiliency is that even when Brooks is lampooning it, the story remains compelling, nearly inviolate. When Gene Wilder's Dr. Frankenstein tries to zap life into a grotesque, inanimate form, the movie goes serious despite itself. The myth is better, more involving than the jokes being made about...

Author: /time Magazine | Title: Cinema: Monster Mash | 12/30/1974 | See Source »

Fearful Crime. The Wilder-Diamond adaptation consists mostly of frequent, unfortunate embellishments. Wilder and Diamond conjure up, for instance, an Oriental cathouse that is never seen but frequently talked about, generally with such references as "I sure could use a little of that sweet and sour right now." They also create a sequence hi which Burns visits Hildy's fiancee (played with popeyed persistence by Susan Sarandon) and passes himself off as Johnson's probation officer. This kicks off a scene of lengthy anxiety about Hildy's fearful (but imaginary) crime, which turns out to be flashing...

Author: /time Magazine | Title: Cinema: Late, Late Edition | 12/23/1974 | See Source »

...during that early scene or it may be shortly after, when Hildy spits out a bit of Wilder-Diamond dialogue and Carol Burnett goes into a strident impersonation of a cut-rate hooker, that the movie curdles. But the thought occurs very early on that the latest The Front Page is an odd place to find Billy Wilder. The sap and the snap are gone...

Author: /time Magazine | Title: Cinema: Late, Late Edition | 12/23/1974 | See Source »

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