Word: scripted
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Dates: during 1970-1979
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...played pretty well up until now. Then Brother Billy thought he would enlarge the script. First came an interview in Penthouse magazine in which the barefooted Billy called Charles Kirbo, the President's adviser, "about the dumbest bastard I ever met in my life" and labeled Hamilton Jordan, the top White House staff member, an "asshole." Some thought that Billy, who now makes about $300,000 a year by performing in public as the President's brother, crossed the line from being a plain, greedy slob into being an embarrassment to the presidency. Then last week came...
...most important character to watch, in true Star Trek tradition, is the villain. Star Trek Creator Eugene Roddenberry, 57, is famous for introducing horrible monsters who are searching for a little understanding to make them un-horrible. While the film's script is under tight lock and key, it is safe to speculate, as does Actor Leonard Nimoy, the pointy-eared Mr. Spock, "that we eventually find our antagonist is searching as well." At first the Enterprise will be fighting what looks like a cloud of electrically charged whipped cream, but the monster is hiding its true nature...
...film's cast is both talented and sexy, but Handkerchiefs is a director's movie. Blier consistently conquers the challenges of mood and texture set up by his script, weaving disparate elements into a ripe, dreamlike whole. The film opens in the slapstick manner of a cartoon, then evolves seamlessly into a bucolic Renoir romance. In the second half, Blier stages chase scenes, a benign car crash and a farcical kidnaping-the larky stuff of American screwball comedy. The film's stylized denouement, shot around a wintry mansion, is a surrealist's spooky intimation of tragedy...
...spectral recorded voice has changed little since the first show in December 1935. Kenneth Franklin, a friendly badger of a man, wrote the present script. Of course "we can never change the ending," he chuckles. "We're locked into a great tradition...
...color and movement in his work, and it contrasts vividly with the more calculated and congealed commercialism of current American movie fare. One suspects Pierson was undercut by his producers, who perhaps imposed safe, name character actors on him, asking him to force up the predictable parts in his script and play down what might be more surprising. The conclusion is that you could do worse than to see Gypsies, but that the film makers could quite easily have done much better...