Blood, Blasphemy And Laughs
IT'S easy to understand why an increasing number of drama critics seem to look longingly at the world of film when, as in the rather ordinary week just past, without an inordinate amount of pre‐opening publicity, and certainly without the sense of desperation that surrounds the Broadway premiere of something like “Coco,” there appear in movie theaters two films on the order of Luis Bunuel's “The Milky Way” and Robert Altman's “M*A*S*H.”
