Word: burtonizing
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...Englishwoman falling on her London derriere, Barbra is camp Joan Greenwood. As the clumsy American who washed her brain and can't do a thing with it, she is Jerry Lewis in drag. During the songs, she slips comfortably into recording-studio Streisand, belting and purring Burton Lane's monotonies as if they were melodies. Funny Girl, her first and best film, seemed written for Barbra. In Hello Dolly she played a part created for a woman 25 years older. In A Clear Day she essays a role that was created for Barbara Harris. Streisand ought...
COVERING show business," says Los Angeles Correspondent Sandra Burton, "is mostly a problem of logistics. Just when a star is most preoccupied with a film and least accessible-shooting on some remote location or on a closed sound stage-that's when you decide you must interview him. Because it's nearly impossible to get up earlier or work later than he does, it's difficult to see him before or after shooting. So interviewing has to be piecemeal-between takes, on planes, in cars...
...Richard Burton remembers meeting Nichols and May backstage when he was starring in Camelot. "Elaine was too formidable . . . one of the most intelligent, beautiful and witty women I had ever met. I hoped I would never see her again." Mike was less formidable, more agreeable. The mustard-colored eyes glinted, but the face had an unlined, almost feminine softness. The voice was as warm and resonant as a cello. Burton, who knows role playing when he sees it, was at first unconvinced by the proffered friendship and admiration. But eventually he enrolled Nichols in the Richard Burton fan club...
Though audiences could no longer feel it, Nichols' tongue was still sharp enough to slice. Richard Burton likes to retell the story of Walter Matthau, "a frenetic soul, and he finally blew his stack at Nichols' Odd Couple direction. 'You're emasculating me,' Walter cried. 'Give me back my balls!' From out front, Mike called back: 'Props...
...Mike was Burton's kind of boy. As the Liz-Dick scandale deepened during the filming of Cleopatra, Burton recalls, "Ninety percent of our friends avoided our eyes. Mike flew to Rome from New York to be with us." Nichols stayed by Elizabeth's side when Burton went off to make another film. Favors like that one remembers. In 1966, the Welshman and his lady were signed for Who's Afraid of Virginia Woolf?, and Elizabeth insisted on Nichols as director. Virginia Woolf could have been a mini-Cleopatra, but its be-low-the-belt punches intrigued critics and audiences...