Word: spacek
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...film is an adaptation of a Paul Gallico story about a fledgling song-and-dance woman (Sissy Spacek) who enlists in a second-rate U.S.O. troupe during World War II. A shy orphan with a sweet smile and no discernible talent, Verna fervently believes that a U.S.O. tour overseas will speed her way to superstardom. She even imagines that Rodgers and Hammerstein will write her a musical after the war and promises her fellow troupers supporting roles. Though her pulpy fantasies of fame and fortune are ludicrously out of reach, her brave self-confidence wins over her battered G.I. audiences...
...production. Despite his limited budget, Director Ronald F. Maxwell has not stinted on important details: he shot the war scenes on location in Europe and enlisted Broadway Choreographer Donald Saddler and Burlesque Comic Joey Faye to help create the vaudeville numbers. Maxwell's casting is precise. Spacek, playing a spiritual sister of the lost souls she acted in Badlands and 3 Women, is diaphanously vulnerable, but also makes a fine clown in her off-pitch songs. William Hurt, her awkward military suitor, is sensitive and attractive in the scenes where he tries to shield Verna from the horrors...
Womack's image will move across the silver screen tonight at the Central Square Cinema, when he makes a cameo appearance in the popular 1974 film "Badlands," starring Sissy Spacek, Martin Sheen and Warren Oates...
...decoration, goodness and popularity will follow her all the days of her life. Indeed, wish being father to the deed, she is convinced that she is well liked and is entirely oblivious to the fact that none of her acquaintances can stand her. Except, that is, Pinky Rose (Sissy Spacek), her roommate and disciple-a drifter for whom any home is better than none. Eventually, after an accident that almost kills Pinky Rose, they exchange roles. For a while it seems that Altman may be making an American Persona-not as subtle as Bergman's great film, but hipper...
...supporting performances. Keitel has added yet another polished evocation of a character to an ever-lengthening string of impressive roles (Taxi Driver, Mean Streets). However, his character, the go-getting executive Ken Hood, is simply not central enough to the narrative to eclipse the other less inspired performances. Sissy Spacek's considerable talents are wasted in the peripheral role of a live-in housekeeper who keeps Carradine's apartment tidied up. As for Carradine himself, he has once again needlessly pigeonholed himself in choosing a role that requires an actor who is long on looks but short on just about...