Word: comically
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Caracol, tells of a prison guard's falling hopelessly in love with him. The half-mad policy would have been dankly comic had not the results so often been tragic. Poet Armando Valladares, 22 years a political prisoner, tells of a twelve-year-old boy who was arrested for a prank, tortured and raped by guards-then marked down as a homosexual...
...Arab buyers. The West is California, two years earlier, where Dudley Moore plays an engineer who gets into trouble by failing to give his undivided attention to making Eddie's lemon grow. And, yes, never the twain shall meet. But the poet's point is a poor comic premise. Though Best Defense provides both stars a few funny moments and offers some promising satirical ideas, its binary construction imposes a fatal jumpiness on it. Gloria Katz and Willard Huyck, who co-wrote American Graffiti and Indiana Jones, have proved they can do better. Huyck, the director here, will...
...tune's author. This is a gently schizophrenic movie: Rusty Lemorande's script is as mild as Miles; the direction, by MTV Whiz Steve Barren (Billie Jean), often percolates as busily as Edgar in high dudgeon. Still, Von Dohlen is a find, with easy, exquisite comic timing; and Edgar, the cybernetic Cyrano, is the most endearingly neurotic bundle of software since...
...best tales, however, Boyd places a safe comic distance between himself and his protagonists. Two stories involve the return of the indestructible Leafy, still itching, still conniving, still cursing with undiminished gusto. The others feature like-minded louts stranded in such all-male preserves as Army barracks and boarding schools. At the beginning of the finest of them, Hardly Ever, an adolescent notes gloomily that his rugby teammates are "asthmatics, fatsos, spastics every one" and forlornly lusts after the heroine in The Rape of the Lock. By the end, he is chastely wooing a schoolgirl, while maddening his chums with...
Like Serban, Strehler introduces anachronisms into his production - the commedia dell'arte for the comic duo of Trinculo and Stephano, for example, and a hint of Peking opera mannerism for Ariel - but they effectively underscore the contrasts between the spirit and human worlds, making the confrontation even more pointed. This is a Tempest of clarity, strength and purpose - exactly what was lacking in the Royal Opera's Turandot. The cross-cultural irony is inescapable: the English company presenting the Italian opera had failed, but the Italians staging an English classic had made a glorious success...