Word: witness
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Dates: during 1970-1979
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...through a six-month New York City run. It was not difficult to figure out what had gone wrong: unlike such other recent imports as Peter Shaffer's Equus and Simon Gray's Otherwise Engaged, The Norman Conquests had been given an indifferent production. Miscast American actors clobbered the wit out of Ayckbourn's words. Now, through PBS's Great Performances series, The Norman Conquests has a second chance to make good in the U.S.?and this time it surely will. In its TV incarnation (produced in England), The Norman Conquests is not only funny but impossibly wise about...
Director Peter Hyams' script does its best to exploit the latest fashions in paranoia. There are interwoven conspiracies and cover-ups; every U.S. Government official on view is a venal scoundrel. Hyams' cynical fantasies about the space program are an especially amusing treat. He suggests, with malicious wit, that NASA'S space walks could actually have taken place on Earth: indeed, he demonstrates that for the price of a video camera and a few buckets of sand, any American can take a giant step for mankind in the privacy of his own home...
With his intelligence, wit, self-discipline and sense of duty and concern for his people, Britain's Prince Charles [May 15] is already a king...
...about a formerly married jingles composer who gets to thinking about his lost college love, coincidentally discovers her whereabouts, wins her briefly, loses her, then wins her for good at the last freeze frame. But the formula remains the same: earnestness, good nature and sophomoric romanticism substituted for wit, intelligence and style, with Brooks' music smeared over everything, like gooey frosting. The picture is shot in the manner of the TV commercials Brooks used to do, and his people display all the nuances we've come to expect from citizens who really care about the shine on their...
...Joan Miro, even today, reflects the cultural confusion in which Surrealism had its roots. At the Rolly-Michaux gallery in Boston aquatints and lithographs of Miro's, mainly from the last ten years, are on exhibit. These works, despite their optimistically bright colors, their fantasy and their wit, despite the simplicity of the cut-out shapes that compose many of the pictures, express many of the original ideas that animated the Surrealist movement. There is a delight in the absurd and the childish here but, at the same time, you feel almost as if the artist was playing a rather...