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More and more career women are deciding it is just that. They are choosing pregnancy before the clock strikes 12. Says Writer Nora Ephron, 40, who had her first child in 1978: "Just once in my life I would like to do something that everyone else isn't doing, but that seems not to be my destiny...

Author: /time Magazine | Title: The New Baby Bloom | 2/22/1982 | See Source »

Many had trouble accepting this motivation, especially when Nicholson's character did not receive the retribution Cain had planned, the (unjust, but plausible) charge of murdering Nora Papadakis, who dies when their car crashes. Rafelson explained his modified denouement as sufficiently powerful: seeing Jack Nicholson cry makes you feel rotten enough, and seeing him (as the book would) sentenced to death for following his passions would be too much...

Author: By David M. Handelman, | Title: All Work and No Play Make Jack a Dull Boy | 11/12/1981 | See Source »

...life for a while, went broke, ran off to New York, lived in a hotel managed by Nathanial West and wrote The Thin Man--the book that would make him his second fortune. Nick Charles is the hero of The Thin Man, and he and his wife, Nora, are witty, urbane detectives who showed how much the sensibilities of the country had grown since Hammett first started. Nick Charles would rather go to a party than investigate--and both he and Nora would rather have had a roll in the hay (not always with each other) than a knock...

Author: By Thomas Hines, | Title: A Continental Op | 7/21/1981 | See Source »

James Dolbear also fails as Nora's tyrannical husband Thomas, unnecessarily Americanized from Ibsen's Torvald. His mugging and blustering gives the character a sort of musical comedy quality; a cute shallowness. His tone never changes. He's not believable for a second as an ambitious, willful man, tortured by the demands of respectability--he's just a sissy, a bone-headed dolt...

Author: By Jacob V. Lamar, | Title: Child's Play | 4/22/1981 | See Source »

...important connections between events blur in the production's tedium; the vital subplots crumble into meaninglessness. The only spontaneity occurs when three-year-old Tyler Vogt, as one of Nora's sons, toddles onstage and glares at the audience. He's just as confused as the rest of the cast, but he doesn't try to hide it. Whatever the faults of Kean and company, their determination is clear, their failure noble...

Author: By Jacob V. Lamar, | Title: Child's Play | 4/22/1981 | See Source »

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