“Old Faces: Innocent Delight”
Time – April 19, 1963
In the ten years since his last Broadway revue, Danny Kaye has made ten movies, formed
his own charter airline service, traveled through some two dozen countries as ambassador
at large for the U.N. Children's Fund, gained some weight and lost some hair. As
he proved last week at the start of a month-
Kaye's special quality is a generosity of spirit that is contagious. He plainly likes people, and even when he mimes their foibles, he does it with delight and affection. His jokes demand no butt and draw no blood; he neither (like Benny) lets himself play the fool, nor (like Hope) does he mock the foolishness of others.
He intends no social criticism (like Sahl), finds no side to comedy but the comic.
He has never (like Bruce) depended on Negro or Jewish dialect for laughs, knowing
that the vulnerable do not enjoy being kidded. His comedy is eager and innocent;
he plays to the child in Everyman, allowing no room in his spectrum for the off-
Kaye's best are still his standards, the git-