Word: yorkers
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Dates: during 1970-1979
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...which has nothing at all to do with the plot and is probably all the better for it. As proper compliment to the direction, Franco Colavecchia has done a swell job of set design--his complicated arrangement of backdrops and scrims are like a series of Saul Steinberg New Yorker covers--and B. Allen Odom has contributed a witty display of costuming. Parmer Fuller's musical direction at moments approaches mere cocktail music (in which, the program claims, Fuller is well-versed), but is saved by Dean Herington's clever orchestrations...
...proposed postal increase," complained New Yorker Publisher David Michaels, "would go far beyond what the magazine business can support." Richard Deems, Hearst Magazines president, said that his company was "terribly disturbed." John J. McCarthy, a vice president of Dow Jones & Co. (the Wall Street Journal), viewed the figures as "horrendous...
...country where I spent a happy first childhood?" By way of answer to that question, Poet Wystan Hugh Auden is going to give up his $35a-week apartment in Manhattan's East Village for a $9-a-week "grace and favor" cottage at Oxford, England. A New Yorker since 1939 and a U.S. citizen since 1946, Auden is anxious "to dispel any feeling that I am disgruntled with America or aggravated by life in New York. If I were 40, or even 50, I would stay here. But I shall be 65 on Feb. 21, and my decision...
...after you've read the book. For only the personalities emerge from it with some clarity and vigor. You may not find much important about The Virgin and the Gypsy and Five Easy Pieces from Penelope Gilliatt's and Jacob Brackman's respective reviews in the New Yorker and Esquire, but you will remember that the critics write long summaries in seamless prose, and are apt to get a bit drippy when the right nerve-end is touched. You might remember even more: that Gilliatt likes cultural detachment and civility (in order to justify Peckinpah she evokes Brecht...
...good people--Kael (The New Yorker), Hatch (Nation), Kauffmann (New Republic), and Sarris (Village Voice)--each have an axe to grind, and make no bones about grinding it. Kael has a perversely radical culture-consciousness, loving most those films which, rooted to a trashy crowd-pleasing base, manage to transcend it. Simon is a classicist, and treats film with the same stern regard as theater; his occasional fault is literary pretension. Hatch and Kauffmann retain the social concern of the more serious '50's liberals, while Sarris's devotion to the Great God Cinema is at least more passionate...