Word: plotting
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Dates: during 1970-1979
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...film's expansive plot reflects the expense of the production. The Universe as it is known at the time of Star Trek is threatened by an alien force of huge and unprecedented proportions. The entire crew of television's Starship Enterprise is reassembled to beat back the menace. All of your old favorites will appear on the silver screen. A slightly grayer and heavier William Shatner portrays the ever-courageous and feisty Captain James T. Kirk, Leonard Nimoy puts on his ears for the Mr. Spock act and DeForest Kelly dons the stethoscope as Dr. McCoy. This has real potential...
...movies as What's Up Doc?and Superman. Benton's crisp pictorial style, which has become more pronounced with each film, can be traced to his years as art director for the graphically innovative Esquire magazine of the early '60s. His preference for characters over plot-something of a flaw in The Late Show-comes from Truffaut, a friend and mentor since Bonnie and Clyde. In Kramer, Benton pays tribute to the French director by using snatches of the Vivaldi mandolin concerto; the same music turned up in The Wild Child, Truffaut's masterpiece about another...
...plot does not follow the facts of his life, of course, but many parts of Ted Kramer have been consciously modeled on the actor. "We wanted Dustin to draw on his own volatile, engaging personality in creating the character," says Director Robert Benton. "We tape-recorded our talks and took endless notes on his language. Everything was carefully worked out." If Kramer is brash, egocentric and often obnoxious, so too is Hoffman. If Kramer is tender, loving and often vulnerable, then Hoffman is as well. Like Diane Keaton in Annie Hall, he has turned the screen into a mirror...
...performance in Kramer vs. Kramer. Emotions play across her face as subtly as breezes ruffling a pond; rarely have the varieties of anguish and uncertainty been so thoroughly catalogued through look and gesture. Streep's understated suffering rescues the character of Joanna Kramer from a virtually no-win plot: bad enough that a mother should leave her young child and then disappear from the film for nearly an hour; worse still that she come back and try to break up the new life that her husband and son have painfully built. "If Joanna is a villain," Streep recently told...
...should an heiress worth $70 million involve herself in a drug ring? Neither von Opel nor any of her seven co-defendants ever said, but the longer her three-week trial went on, the more it became apparent that she was less a pawn than a principal in the plot. Cousin Günter Sachs, himself known mainly as a playboy, blamed von Opel's predicament on an unhappy childhood and a latter-day regimen that included two bottles of vodka daily. So convinced of her guilt were the French judges who heard the case that they doubled...