Word: julia
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...Literate, funny, warm and tender" was Producer Hal Kanter's unblushing preseason review of his new NBC show Julia, the first TV series to focus on a Negro family. "Julia will be an opportunity to show the world how black people live," chimed in Diahann Carroll, late of Broadway (No Strings) and Hollywood (Hurry Sundown), who plays the title role...
...eleven episodes old, Julia unfortunately shows no such thing. It is trite, sugary and preposterous. Take one recent show. When a kid says "Hello, there" to Julia's bright six-year-old son Corey (Marc Copage), he pipes: "Hello, where?" Squeals Corey's teen-age baby sitter: "You've got the wildest mind since they wrapped Ezra Pound in a wet sheet!" Later, a white neighbor lady in Julia's high-priced integrated apartment building pops in to exclaim: "This is the most exciting thing that's happened around here since...
...Scale to No. 6. As for that intimate, inside look at the life and times of black people, Julia seems more like The Wonderful World of Color. In one episode, when a character conveniently named Potts makes a slighting reference about Negroes, Julia delivers her big punch line: "Is Potts calling the black a kettle?" Producer Kanter promises more of this hard-hitting social commentary in forthcoming shows. "In one program," says Kanter, "there's a Negro male who's a failure and blames it all on his being colored. We straighten him out. In another, Corey...
Larger interracial issues are ignored. Asked if Julia will ever be involved with a white man, Diahann says: "I don't think that's of primary importance. There's a great deal of sensationalism in that now, while the interaction of the black man and the black woman has not been explored at all and needs to be." In the meantime, the series will, as in the Dec. 24 episode, wallow in lesser issues like Corey's argument with a neighbor boy about whether or not Santa Claus is white. Title of the segment...
...Nevertheless, the entire slew of slow love songs on the two records, presumably McCartney's work, are surprisingly undistinguished. The '30's type ballads ("Sexy Sadie," "Honey Pie") have lost their novelty and much of their charm, remaining now as just so much old-fashioned schmaltz, "I Will" and "Julia," the love songs, are not inventive or gripping enough. McCartney's great period of love ballads seems over because he has not done much since the fervent days of "Things We Said Today" and "And I Love Her" and "Girl." Songs like "Blackbird" and "Mother Nature's Son" are done...