Word: film
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Dates: during 1980-1980
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...security apparatus, the bedrock of Communist authority. Said Walesa then: "Let us not forget that tanks and rockets could also be the reply." On Dec. 5, Solidarity declared a six-week moratorium on strikes. It also toned down its rhetoric. When the government suspended screenings of Workers 80, a film about the strikes, the union raised only a mild protest. A month earlier, such censorship would have provoked a strike threat at the very least...
...Acting is much like professional football," observes Norman Mailer, writer and sometime thespian. So when it came time to film his big scene in the movie Ragtime-wherein his character, Architect Stanford White, is assassinated by Millionaire Harry K. Thaw (Robert Joy)-the star got the pre-game jitters, "not because I was being shot, but because I might let the team down." He died like a pro. As the bullets flew, he slumped convincingly over a table, then rolled to the floor. His comely companion cried holy murder, which made Mailer especially proud. She is his sixth and current...
...apotheosis of American pop movies: Frankenstein, Murders in the Rue Morgue, The Nutty Professor, 2001, Alien, Love Story. It opens at fever pitch and then starts soaring-into genetic fantasy, into a precognitive dream of delirium and delight. Madness is its subject and substance, style and spirit. The film changes tone, even form, with its hero's every new mood and mutation. It expands and contracts with his mind until both almost crack. It keeps threatening to go bonkers, then makes good on its threat, and still remains as lucid as an aerialist on a high wire. It moves...
...This film is running for one week in New York and Los Angeles to qualify for Academy nominations. It is the sort of ponderously aspiring twaddle that sometimes wins Oscars-especially when it presents Hollywood a chance to welcome back a suitably repentant sinner. But the once cheerfully perverse director of Rosemary's Baby and Chinatown ought to remember that being an artist means never having to say you're sorry...
...praise to Wayne Fitzgerald and David Oliver, who devised this witty, vivacious credit sequence, and to Dolly Parton for composing and singing the title song. Alas, it consumes only 2½ minutes of Colin Higgins' slapstick sermon on job equality. The rest of the film is misjudged and malign. Higgins has little more to tell us about the personalities of his three secretaries than those first alarm clocks did: Judy (Jane Fonda) is square, Doralee (Dolly Parton) is frilly, Vi (Lily Tomlin) is sensible. Together, though, they are a Stenographic catastrophe; they'd lose the quick-brown...