Word: rabelaisian
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...first fragment (54 pages) was published more than 30 years ago-inspired by the impassioned morbidities of Dostoevsky's Notes from Underground. But most of the final 330 pages, written in the last years of the author's life, strike up a more and more Rabelaisian...
...evidence. They asked Capp about a New Yorker profile by E. J. Kahn Jr. in which Capp was quoted as admitting that when "I was just a kid from the country ... I became an expert on pornography." The profile also said that Capp's cartoons have "bits of Rabelaisian humor, often . . . adroitly covered up." Unruffled, Capp answered that both he and New Yorker Writer Kahn were professional "humorists" who used "exaggerated humor." The "method of The New Yorker," he added, "is different from other magazines. Mr. Kahn simply listens; he does not take notes." (Replies Kahn: "Of course...
...House of Madame Tellier blends a Rabelaisian humor with an almost feminine delicacy of touch. Madame Tellier's house is a brothel in a small Norman city, and Director Max Ophuls' camera peeks through doors and latticed windows at the girls and their guests, islands of light and laughter in the tomblike silence of the town. Then one night the house is closed tight, and its baffled habitues turn away from the door to wander unhappily in the streets...
...wife, who is jealous of her husband's affection for his pet cat. Pride, directed by Claude (Devil in the Flesh) Autant-Lara, is a mordant study of an impoverished, aristocratic mother and daughter (well played by Franchise Rosay and Michele Morgan). The best episode is Gluttony, a Rabelaisian sketch written and directed by Carlo Rim, about a handsome doctor, who seeks shelter during a storm in the home of a peasant. There he is taken with the peasant's tasty cheese as well as with his pretty wife. The ending, in which he chooses between...
...Author John (The African Queen) Huston has based his film on Pierre la Mure's bestselling 1950 novel, Moulin Rouge. Like the book, the picture takes some liberties with fact, e.g., by building up a romance between Lautrec and a streetwalker. Unavoidably, the film also softens the more Rabelaisian aspects of Lautrec's life; the fact that he was a star boarder at many of Paris' brothels is barely hinted at. But the picture is nonetheless an exuberant, bizarre, visually striking re-creation of an artist and an era, told, as in Lautrec's own work...