Word: actresses
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...Actress Jacqueline Bisset was not eager to belt a 68-year-old grandmother in the face, but the old woman was not one bit impressed by her deferential pat on the cheek. "You'll have to hit me harder than that, dear, if the scene's going to work." So Helen Hayes took a good smash from Miss Bisset-and the scene worked. Back in Hollywood, after a 13-year absence, for the filming of Arthur Hailey's bestseller Airport, the great lady of the stage still scorns a standin. In her role as chronic stowaway...
...side of the screen, Wayne has often appeared to be loping through his roles. But on the other side, it seems, there has always been an exacting competitive performer. In McLintock, recalls Actress Maureen O'Hara, "he didn't like the way I was doing a scene, and he said angrily, 'C'mon, Maureen, get going. This is your scene.' I said I was trying to go fifty-fifty. 'Fifty-fifty, hell,' he said. 'It's your scene. Take it.' Then he added under his breath, 'If you can.' " The master of the western, Director John Ford, calls Wayne...
...been uniquely conservative. "In a love scene, Clark Gable always forced the issue with a girl," observed Director Howard Hawks (Red River). "Wayne is better when the girl is forcing the issue." The romantic backlash has been operating for two generations on audiences?and on his female costars. Says Actress Vera Miles: "They used to say of the old West, 'Men were men and the women were grateful.' Well, that's how he makes you feel as a woman...
...screen he had almost as much clout. It is axiomatic that in order to be a conservative, the individual has to have something to conserve. Wayne had made more money on horseback than Eddie Arcaro. He had property, a big rep and a new wife, Mexican-born Actress Esperanza Baur. He was Hollywood's super-American, whose unswerving motto was "Go West and turn right...
...recent American copies is roughly that between the incredible Hitchcock of Vertigo and the bankrupt Polanski of Repulsion) is a master at forcing an audience to change their sympathies. Fantastically aware of the possibilities of a frame, Rouch can totally confuse a complacent viewer by having an actress turn her body about thirty degrees and in so doing undermine her earlier sympathetic position. In "Gare du Nord" these abrupt shifts of sympathy are used to tell the story of trapped people. (Obviously, American romantics who think of Paris as a city of escape and freedom will find no support...