Word: blooms
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Married. Barbara Jefford, 36, British actress who recently made her movie debut as Molly Bloom, the earthy heroine of James Joyce's Ulysses; and John Turner, 34, British TV actor; both for the second time; in London...
...Much Grease. Director Joseph Strick had greater cause for distress when he discovered that 20 lines of Molly Bloom's famous soliloquy had been blacked out of the subtitles. Storming into the projection booth, he was confronted by six guards. "That's my film!" Strick cried. "You've mutilated it, and you've got to stop the projection!" There was a struggle, and Strick was thrown out of the booth. Limping back to his balcony seat on a twisted ankle, he screamed, "Stop the projection! My film has been mutilated!" The picture continued...
Patsy takes off, leaving a farewell note after ten pages of a Molly-Bloom-type soliloquy. Sample unthoughts about her unman: "The noise he made when he swallowed; his smelly feet!" Obviously, such a fellow as Tom deserves to be cuckolded. Patsy's choice is a chap named Ron, and together they "could knock spots off the Kinsey report...
Strick, or his scriptwriters, must also be commended for the judicious selection of dialogue fragments here. Often, in Bloom's imaginings, single faces fill the screen as they thunder a brief phrase, then vanish and aren't heard from again. We have seen a bit of this in Lester's The Knack, but how much more delightful to have such phrases be Joyce's, to have instead of "Mods and Rockers!" Theodore Purefoy's faithfully Catholic, "He employs a mechanical device to frustrate the sacred ends of nature!" or to have a solemn diagnostician pronounce. "He was born...
Compressing as he must, Strick inevitably creates certain emphases Joyce does not. He wisely emphasizes Bloom's relationship with Molly, which is certainly the essence of the novel. This, however, tends to exaggerate the relentlessness of Bloom's thoughts on his cuckoldry. More conspicuously exaggerated is Bloom's racial paranoia, his consciousness of anti-semitism around him; but perhaps the problem of anti-semitism took on a different aspect for this film's crew, shooting in 1966, than it had for Joyce in 1922; perhaps it is no longer a sorrow from which we are capable of drawing our thoughts...