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...from a return to adolescence and ideal love (matched in from by the carnival figures and the unnatural falsetto) to a life of chronic depression ("And I was crying, baby, crying like a child," in a pain-wracked natural voice) to a vision of sexual redemption worthy of Lawrence, sung in the dread/voodoo accents of a Jamaican deejay...

Author: By Paul A. Attanasio, | Title: The Man Who Loved Woman | 9/15/1980 | See Source »

Welcome to John Sayles' going-away party for the the idealism of the Nixon years. Not much "happens" in Secaucus. Some songs are sung, a few partners change, and the whole gang is falsely arrested for mur dering a deer - or, as one of them describes the charge, "Bambicide." Sayles has appropriated the discursive, episodic format of many recent films (and the spirit of that charming, intelligent Swiss com edy Jonah Who Will Be 25 in the Year 2000), but he constructs individual scenes with the deftness of a Billy Wilder. His dialogue often circles back...

Author: /time Magazine | Title: Cinema: Nostalgia at 30 | 9/15/1980 | See Source »

...from a return to adolescence and ideal love (matched in from by the carnival figures and the unnatural falsetto) to a life of chronic depression ("And I was crying, baby, crying like a child," in a pain-wracked natural voice) to a vision of sexual redemption worthy of Lawrence, sung in the dread/voodoo accents of a Jamaican deejay...

Author: By Paul A. Attanasio, | Title: The Man Who Loved Woman | 9/10/1980 | See Source »

...from a return to adolescence and ideal love (matched in from by the carnival figures and the unnatural falsetto) to a life of chronic depression ("And I was crying, baby, crying like a child," in a pain-wracked natural voice) to a vision of sexual redemption worthy of Lawrence, sung in the dread/voodoo accents of a Jamaican deejay...

Author: By Paul A. Attanasio, | Title: The Man Who Loved Woman | 9/8/1980 | See Source »

...Jakobsleiter (Jacob's Ladder) is a portion of a grandiose, uncompleted oratorio. A chorus of souls in limbo shuffles about the stage, awaiting reincarnation. Their doubts and frustrations are chastened by the Archangel Gabriel, effectively sung by Bass-Baritone William Dooley. The music, first sketched around World War I and completed later, has more lateromantic intelligibility than Erwartung, but it is so somber and static that one eventually wants to cry out with the chorus: "Is it really to go on like this forever?" Yet there is a moving finale. Soprano Janet Northway, as a soul who is dying...

Author: /time Magazine | Title: Music: Bold Dissonance at Santa Fe | 8/11/1980 | See Source »

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