Word: casting
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Dates: during 1970-1970
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...before us might be a suburban housewife in a severe funk. Stapleton's hysteria is totally convincing, though she speaks in a peculiarly strident and monotonous voice. The unfailingly attractive Betsy von Furstenberg seems to be reciting her lines rather than delivering them. Lombard is most felicitously cast as the homosexual actor and is uncannily reminiscent of James Coco in Last of the Red Hot Lovers...
THERE'S A GIRL IN MY SOUP-but it might as well be a crouton. In other words, the film, adapted by British Author Terence Frisby, is about as dreary as his play of the same name. Peter Sellers is cast as the galloping gourmet of British television and the Errol Flynn (albeit a spindly one) of the British boudoir. Prinking Lotharios always meet their match, of course, and Sellers' downfall comes at the hand of a goofy colonial bird (Goldie Hawn). Sellers is fitfully amusing when not indulging an inexplicable penchant for removing his clothes...
...situations pure pasteboard. But Director John Trent has a subtle feeling for the nuances of small-town life, and scenes such as a going-away party for a Viet Nam-bound soldier are filled with a sense of quiet poetry that might have pleased Sherwood Anderson. In the cast are Tisa Farrow, Mia's preternaturally sensual younger sister, and (as Homer) a robust young actor named Don Scardino, who is the most genial and talented young leading man to appear since Beau Bridges...
...feeling of being let down by his mother was the first of several jolts to his self-indulgent idealization of women. At 21 he tried to place a girl named Maria Beadnell in the role of an angelic object of worship. She ended by jilting him. Later he cast his wife-the bland, slightly perplexed daughter of one of his former editors-as the traditional loyal helpmeet. She seems to have ended by boring him. The result was that in his fiction he was never able to display a fully rounded view of women. Even his most memorable females-Esther...
...title role, shuttling incessantly from the red to the white side, Dustin Hoffman adopts precisely the right attitude of bewildered reality lost in myth, a photograph projected on a Frederic Remington painting. Unhappily, not all the cast is as comfortable in their roles. Some of the whites, such as Faye Dunaway as a preacher's oestrous wife, and Martin Balsam as a bunco artist, play like fugitives from a road company of The Drunkard, with galvanic gestures and frozen speech patterns. The Human Beings, by contrast, are a people of dignity and variety. Among them are the homosexual Little...