Word: woolfe
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...over the ads, the film is as Establishment a piece of goods as any. It is photographed by Haskell Wexler in his slickest if-we-have-a-tiny-set-I'm-gonna-move-my-camera-anyway style (which produced the most glaring defects in Who's Afraid of Virginia Woolf). It is staged as a conscious theater piece, with actors orating to the audience--failing to produce what I suppose was intended as Brechtian effect, but making the whole affair come off like a video-taped TV show. And the treatment of the text is so reverential that any discussion...
...Other marks the movie debut of Uta Hagen, a demigoddess of Broadway (she starred in the original productions of both The Country Girl and Who's Afraid of Virginia Woolf?) and an acting teacher of special renown. It is difficult to fathom her reputation judging from her work here. She is flam boyant to the point of grotesquery, as is Miss Muldaur. But the Udvarnoky boys are appallingly convincing as the fey twins. Mulligan's special talent for directing children (Up the Down Stair case, To Kill a Mockingbird) is again splendidly in evidence here...
...cynical alcoholic (Walter McGinn), and his bitter school superintendent of a brother (Michael McGuire). Their old coach (Richard A. Dysart) is a whiplash of a man embalmed in the Vince Lombardi philosophy. But these men have lost the game of life, and in their rasping revelations à la Virginia Woolf and their boozy camaraderie à la The Boys in the Band, the playgoer finds...
...began to write fiction; but almost as soon as they did, it was clear that writing talent has no gender. Jane Austen is one of the supreme geniuses of the novel, and only a handful of writers have exceeded the accomplishment of George Eliot, the Brontës, Virginia Woolf. For years, though, criticism has been full of daffy generalizations uttered with patriarchal assurance about women as miniaturists, delicate sensibilities, custodians of domestic custom...
...these creations were hotly and hastily done by Women's righters who are not, alas, women writers. Hardly any can compare to the majestic range and mastery of the few earlier classics on the subject, Simone de Beauvoir's The Second Sex (Bantam; $1.25) or Virginia Woolf's graceful, extraordinarily affecting A Room of One's Own (Harbinger; $1.95), both happily still in print...