Word: biz
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Dates: during 1980-1989
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...hard to say whether S.O.B. will be a meaningful comic experience outside the L.A.-N.Y. show-biz axis, but it is full of the splendid physical comedy that is Director Edwards' specialty. And besides, most of the movie types he so viciously caricatures are portrayed with high, vile spirits by the likes of Robert Preston, Larry Hagman, Robert Vaughn and Robert Webber, the meanest-looking crew since the Wild Bunch bit the dust. Edwards occasionally strays too far inside for his own good, lapsing from parodies of bad taste into the genuine article. But his work has pace...
...attentions, that is brave, flashy and riveting. It is brave because she plays a woman on the shady side of 50 who hides neither her wrinkles nor the temperamental manipulativeness so common among aging stars; flashy because, besides singing and dancing, she trades in high-gloss show-biz bitchery that sometimes approaches the level of All About Eve; riveting because she shows a touching vulnerability about her professional and personal insecurities (she is torching for her ex-husband, played by James Garner). Bacall may or may not be playing Bacall, but who cares? She is obviously a very knowing lady...
...they might say in show biz, Ed Koch is top banana in the Big Apple. Now an enterprising publisher has put together a collection of his yaks and zingers titled 'How'm I Doing?' The Wit & Wisdom of Ed Koch (Lion Books; $4.50). A sampling...
Another part of her appeal is pure show biz. As a star platform personality, Jungreis comes on in flashy outfits of white, black or electric purple, wearing spike heels and heavy eye makeup. All that plus a slight Hungarian accent and blond wig make her look and sound a bit like Zsa-Zsa Gabor. Staid rabbis are sometimes scandalized by her delivery, which ranges from a concerned whine to a dramatic whisper. But lay listeners are held spellbound by her blend of polemics and pizazz. Sometimes they weep openly as she speaks about the possible fate of Israel...
...concerts) and home movies shows, Presley did it every which way but his. He began as an original-a white man who sang like an angry black and moved like a bad woman-and ended as a bloated amalgam of Liberace and Judy Garland. It was the standard show-biz tragedy, which Andrew Solt and Malcolm Leo document in delicious detail. Today Elvis remains a thriving industry, like Disney; this film is both a comment on that industry and (through the authorization of Presley's mentor, Colonel Tom Parker) a part of it. The remark of the Hollywood cynic...