Word: screenplay
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...such it has furnished Travolta with his very own stairway to heaven. So long as the film is accepted for what it is--highly marketable entertainment and nothing else--"Saturday Night Fever" will deliver for most of its two-hour length. And if Norman Wexler's cliche-plagued screenplay leaves you numb in parts, one of those ubiquitous Bee Gee standards is waiting just around the corner to rouse you from your slumber.CENTER SCREEN presents both Frank Mouris [in person] and his "Frank Film," Friday, 8 p.m. at the Carpenter Center. Caroline Ahlfirs Mouris will also speak...
...seedy brothel atmosphere that surrounds Violet is equally unexplored. How Malle will photograph the setting of the Storyville section of New Orleans is an obvious question, since the plot itself draws attention to photography. In his screenplay Malle crosses Violet's path with that of a photographer named E.J. Bellocq, an actual figure who shot a series of photographs of Storyville prostitutes in 1912. (Here he arrives to take pictures and ends up living with Violet and finally wedding her.) Malle also has an acute aesthetic sense; his other films have been very painterly in their effects and often masterful...
Directed by George Gage Screenplay by Richard A. Wolf and George Gage...
Watching the film is often like staring at a confounding blur: Pretty Baby's narrative often seems to be languishing somewhere in the film's hazy background. That's a shame, because the screenplay is built around an exciting idea. Malle and Scenarist Polly Platt have hypothesized a romance-and eventual marriage-between Heroine Violet (Brooke Shields) and E.J. Bellocq (Keith Carradine), the legendary photographer of Storyville's glory days. This couple's bizarre March-December affair, like the equally promising relationship between Violet and her prostitute mother (Susan Sarandon), is described only intermittently. Instead...
HOUSE CALLS Directed by Howard Zieff Screenplay by Max Shulman and Julius J. Epstein, Alan Mandel and Charles Shyer...