Word: cameos
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Dates: during 1980-1989
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...cameo, a gem of political theatrics last week in the Rose Garden burnished by sunshine and the lovely memory of every American's uncle, the late Democratic Senator Henry ("Scoop") Jackson. It was too tiny a melody for the tin ears of the networks. And yet, those few moments foreshadowed the very bugle call of Ronald Reagan's campaign to reclaim the Oval Office...
Geraldine Page excels as the mother of a crooked cop who accidently dies, while Charlie and Paulie are robbing the safe. In her cameo-role, Page reveals the strength behind her character's alcoholic, chain-smoking passivity. And as Charlie's aerobic-dancing girl-friend Diane. Daryl Hannah proves her ability as a serious actress. She poignantly leaves Charlie, because she realizes he will always be "just one inch away from being honest." Diane refuses to compromise her values, despite her love for Charlie, and we feel her pain as she discovers that Charlie loves Paulie more than...
...favorable review in the Washington Post, where Au thor Woodward heads up the investigative reporting staff, is drawing the kind of hoopla usually kindled by more conventional show-biz behemoths; an excerpt has also appeared in Playboy. Like some Hollywood superproduction, the book boasts a long list of cameo appearances by stars (Jack Nicholson, Robin Williams, Robert De Niro, Carrie Fisher and miscellaneous The Rolling Stones) whose presence has nothing of importance to contribute save what agents and producers like to call "name value...
...cameo roles, such as Yente the match-maker (Kamala Soparker) and the Rabbi (Peter Reale) are also noteworthy, While both characters are traditional stereotypes, Soparker and Reale put in enough energy to keep them from going state. In fact, the only minor character that does not transcend his stereotype is the Fiddler himself, whose obviously fake board emphasizes his obviously fake fiddling. But since the fiddler mainly appears on the rooftop, or peaks around the corner of the set, he does not direct from the overall effect...
There is no contradiction between Hitchcock' canny conservatism and his directorial eminence profit and honor went hand in glove. Even his brief cameo appearances (silhouetted in the neon skyline of Rope, for example) are a playful cue to the viewer to watch every frame for tricks and revelations. The qualities that made him the world's best-known moviemaker were precisely the ones that made him one of the best film artists...