Word: archer
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Dates: during 1970-1979
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When dealing with bedrock matters of story and character, Paradise Alley is an utter mess. Stallone's two co-stars are blanks on the screen; their personal metamorphoses are too sketchily written and acted to have any impact. The men's love interests (Anne Archer, Joyce Ingalls, Aimee Eccles) are all crassly conceived stereotypes; there is even a hooker with a heart of gold. Whatever credibility exists in the screenplay is soon destroyed by Stallone's direction. Paradise Alley is a cinematic minefield of bizarre transitions, cryptic anecdotes, continuity lapses and mushy dissolves. Despite Laszlo Kovacs...
...lists telephones by address and is crucial in tracing an erring husband's surreptitious calls). There is no evidence that Blye has read any Kafka, but if he did, he would probably want to call up the guy and chat. He loves red tape. Lew Archer is never seen writing depositions, but Blye must take them to exacting specifications from any credible witness. Every line of testimony from a witness is numbered, then read back to the speaker, who must swear that he understands each word. Blye even takes a Polaroid picture so that lawyers can decide whether...
...Nelle C. Archer Tampa...
Rick has doubts about his new ambitions, which not even the renewed interest of a high school girl friend (Anne Archer) can resolve. He passes a great deal of time brooding in the sun, pulling swimmers out of the water and keeping order on the sands while he ponders the values in his life...
...failure, but their hero's softheadedness is contagious. Rick's final decision, which is to be a success on his own suffocatingly modest terms, is conveyed with a hint of melancholy but more than a suggestion of approval. Lifeguard is winningly acted-by Elliott and, especially, by Archer and Kathleen Quinlan, who appears as an infatuated teen-ager-but the people who put it all together may, like their hero, have spent a little too much time...