Word: boye
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Dates: during 1980-1989
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...that made him famous, of an intense young man with a mission: the total workhorse, the ultimate party animal. His job -- flying planes, shooting pool, mixing drinks -- is his life. And he is vulnerable as well as volatile. His thin, high voice helps him here: it locates a little boy lost in the clouds of bravado. Moviegoers may also like what they see in Cruise the man: a dedicated actor, utterly absorbed with his craft, who uses his celebrity to get better parts and get better at what he does. With each new film, he has proved he has more...
...could best serve his country as a squad leader in the war against the war. This morality play could be a turnoff if it weren't for Cruise's presence. Says Tom Pollock, head of Universal Pictures, the film's patron: "Tom Cruise is all America's all-American boy. The film's journey is more powerful when it is made by the maverick from Top Gun. It's not only Ron who goes through this wrenching story, it is Tom Cruise -- our perception of Tom Cruise...
...regeneration is painful and partial. He never, in the film, reconciles with his parents; there is no fade-out kiss with Donna. His conscience has more urgent needs. To expiate the guilt of killing a fellow soldier, he must confess to the boy's family. To purge his horror of the village massacre, he must speak out against the war. He infiltrates the 1972 Republican Convention in Miami Beach and gets on TV. When a security guard dumps Ron out of his wheelchair, he fights back with a Marine's heedless bravery. "We're gonna take the hall back...
...baby Christopher Reeve. Superboy. Dozens of such sleek stud puppies pass through Hollywood every year, and in Endless Love (1981) and The Outsiders (1982), Cruise had the chance to scope out his competition: Matt Dillon, Rob Lowe, Ralph Macchio, James Spader, Patrick Swayze, Emilio Estevez, C. Thomas Howell. Usually boy toys come and go without attracting much more than vagrant pubescent lust. There is little job security in being this week's pinup on the bedroom wall of American girlhood...
...Markham tosses away eternity in exchange for a single, futile roll of the dice, then squanders what reprieves are offered in unrepentant revelry. He nonetheless stumps Satan twice, escaping the first time and settling down the second time into a perverse sort of domestic bliss. Markham's good-ole-boy world view is distasteful: women are treated as property, and both defeats of the devil depend on the notion that homosexuality is a fate worse than damnation. But Silverstein's script, told in verse with occasional bursts of music, is rowdy and rousing and raunchily uproarious, especially in a song...