Word: screening
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Dates: during 1970-1970
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...neighbors and at each other. And all the time you yell, yell, yell. In every way, The People Next Door is an anachronism, a "naturalistic" play like those prevalent in the 1950s. It ran on TV two years ago and has now been transported to the screen with every cliché, every oversimplification, every gross dramatic blunder intact...
...time is September 1954. Spyros Skouras, Laurance Rockefeller and William Zeckendorf have just passed through an elaborate security screen to reach a Los Angeles meeting with the suspicious, secretive industrialist Howard Hughes. Through Skouras, Hughes has leaked his intention of selling his enormous holdings to devote the proceeds to medical research. Rockefeller, philanthropist and president of the Chase Manhattan Bank, and Zeckendorf at that time, the extraordinarily successful head of the Webb & Knapp real estate empire, have come out from New York...
Naturally, Gould is not so sure and is already worrying about the part, which he will begin filming later this month in Sweden. One of his greatest fears is that he may be asked to make love to the leading lady on-screen in the buff. Bob Kaufman, who wrote the screenplays for Getting Straight and / Love My Wife, is currently getting a kick out of teasing his friend about working with Bergman. "When he's on the set, Gould thinks every director is Fellini. When the picture is finished, he's already David Lean. But by the time...
...facing Gould is getting into reruns before his prime time is used up. In Getting Straight, when his jaw flew open in astonishment and water cascaded down his chin during the Master of Arts oral exam, the bit was both funny and surprising. But when he appeared on-screen in Move just a couple of months later doing the same thing again, it became self-parody. The theme of I Love My Wife concerns the oft-plumbed conflict between professional success and contemporary marriage; Little Murders deals with urban man's inhumanity to urban man. Is it all getting...
...enormously skillful actor, seems to have a special understanding of parts like this, and Suzy Kendall brings to her role exactly the right look of soiled innocence. The two villains of the piece, freaky faggots named Griff (Robert Phillips) and Terry (William Smith), provide some of the nastiest screen violence so far this year. There's a brawl toward the end of the picture between McGee and one of the freaks that has not been matched, for pure furniture-smashing gusto, since Frank Sinatra took out after that Korean guy in The Manchurian Candidate...