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...title Demon Box refers to Physicist James Clerk Maxwell's colorful explanation of perpetual motion. In the book Maxwell's model is used by a California therapy guru, fictionalized as Dr. Klaus Woofner, to explain human behavior. Kesey the globe trotter and spiritual joker seems entranced. But Kesey the planter of corn and milker of cows presents Woofner as another psycho-alchemist trying to turn a metaphor into a 14-karat gimmick. The point is made admiringly by one skilled fancifier to another. After all, the charlatan, like the artist, exploits illusion and a sense of mystery. Behind the plow...

Author: /time Magazine | Title: Books: Psycho-Alchemy | 9/8/1986 | See Source »

...well-traveled boxer and musician, Pena straddles two cultures. Oppenheimer calls him a "bebop Indian," though this is not an adequate description. But then, Los Alamos is a breeding ground of misapprehensions. Captain Augustino, the project security officer, is convinced that "Oppy" is passing information to the Soviets, while Klaus Fuchs, a real spy, fails to arouse the captain's suspicion. Anna Weiss, a mathematician who has escaped the Holocaust, gives the impression that she is frigid and unflappable. In fact, she is Pena's playmate and leads a rich, neurotic secret life...

Author: /time Magazine | Title: Books: Fallout Stallion Gate | 5/12/1986 | See Source »

...Frank Miller with Klaus Janson...

Author: By Peter D. Sagal, | Title: A Bat Out of Hell | 4/30/1986 | See Source »

...flat, lurid drawing associated with comics ever since Roy Lichtenstein made his fortune with it; Miller uses shadows and suggestions to conceal the absurd aspects of his medium--we all saw how silly a man really looks in a Batman suit--and inventive panel arrangement to exploit its strengths. Klaus Janson's inking adds depth to the art, and the coloring, by Lynn Varley, is subtle and effective...

Author: By Peter D. Sagal, | Title: A Bat Out of Hell | 4/30/1986 | See Source »

What the entire cast (including a slyly insinuating Klaus Maria Brandauer as Bror) helps to realize, what Pollack has captured in simple, forceful imagery and in the perfect pace of his editing, is something one dared not hope to find in this movie. It is Dinesen's remarkable rhythm. She never held a note too long. Africa had sung too many songs to her in a voice she knew was beginning to die. She had to get down on paper as many of them as she could, and do it without losing the haunting beat that had carried these sounds...

Author: /time Magazine | Title: Cinema: Where the Wild Things Were Out of Africa | 12/16/1985 | See Source »

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