Word: screening
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Dates: during 1970-1979
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Bette Midler is not a great singer or a subtle actress or an exquisite beauty; yet she just may be a movie star. In The Rose, a highly fictionalized biography of a Janis Joplin-like rock icon, Midler can hardly be contained by a wide screen and six-track Dolby Stereo. She not only blasts out her many numbers with blistering fury, but she also attempts to strike every emotional chord known to junky movie melodrama. Even when she comes up flat, it is hard to look away. Midler does not make the mistake of begging for attention, like...
...Rose is exactly the kind of vehicle one would expect for Midler's screen debut: it aspires to the tradition of Funny Girl and Lady Sings the Blues, musicals that boosted Barbra Streisand and Diana Ross to fast movie stardom by casting them as legendary singers of the past. Still, there is a basic flaw in The Rose's design that makes the film hard to take seriously. While Streisand and Ross were reasonably plausible stand-ins for Fanny Brice and Billie Holiday, Midler is not credible as a bluesy rock belter. Her strident Broadway voice and campy...
...basic Apple II consists of a typewriter keyboard about the size of an attache case; it plugs into any TV set and flashes information on the screen. It can be programmed by anyone familiar with BASIC, the simplest computer language, to do income taxes, balance a checkbook, record recipes, update the Christmas-card mailing list and play chess and backgammon. Benjamin Rosen, a Manhattan investment analyst, relies on his Apple for evaluating securities portfolios and doing cash-flow projections...
...blasphemous by Christians and Jews alike. But almost simultaneously, it is releasing another movie that will please the pious. This film, titled simply Jesus, is calculated to appeal to the most ardent biblical purists: all the action and virtually all the words spoken by the actors and off-screen Narrator Alexander Scourby are taken straight from the Gospel of Luke...
...spent his prime writing years perpetually strapped for cash. The energy poured into novels like The Sound and the Fury (1929) and As I Lay Dying (1930) netted him almost nothing, and the private squirearchy he was establishing in Oxford, Miss., cost money. Hollywood offered him periodic stints of screen writing, and these paid some bills. The marketplace for short fiction provided another recourse. Luckily for Faulkner, at the time it was enormous: the Saturday Evening Post, Collier's, American Mercury, American Magazine, This Week, Woman's Home Companion, Country Gentleman, Scribner's magazine. Faulkner received rejections...