Word: carly
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Dates: during 1970-1979
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...giving me the (incorrect) impression that, for the time being, he was talking only to me. But when a limousine pulled up at the far end of the strip that defines the Mayor's Marketplace, even without looking at them I knew those eyes had moved to the moving car just as surely as a chicken hawk's eyes home in on its quarry...
...these ripples hardly rouse the water, or muss the bed, compared with the incidents of last year--the knifings, vigilante marches and the partially obliterated signs of "gger go home" painted on the walls of traditionally Irish and all-white South Boston High School. A picture of an overturned car in Charlestown made the national papers, and all three networks sent cameras and sound equipment to record fist-waving parents as they shouted "Never, never, never" along South Boston's streets. Over 900 citizens, mostly white and anti-busing, rode the paddy wagons to the local jails in the first...
...GRANDMOTHER dies one morning, however, the film saying it happens while Veronique is checking her face for zits. And so, instead of spending her usual summer at that woman's home, she trots off with her godparents on a car trip. Through the not ever steamy window of her curiosity we soon see that this couple's existence is no bed of French lillies, either. 'Grown up for Ann, the late thirtiesh godmother, translates into dyed hair, bulging thighs, chain-smoking, an abandoned child in the distant past and a psychological block against bearing another one ever since. 'Gaining status...
...film she set out to." I'm not so sure Canby communicates exactly what he set out to, but he would probably agree that Guilmain's straightforward and naive realization of a 13 year-old's perspective does produce some very funny moments--a ridiculous dispute in the car, Jean flopping off-balance into a garden chair--without stooping to too much cynicism. But also without touching us very deeply, because Veronique never does act her real age, never even suggests that her pre-mature coolness is really a hold-out against advancing adolescent self-consciousness (a la Jodie Foster...
This loud and largely dismal exercise represents the culmination of one direction contemporary American movies have taken. Despite the functional presence of actors, the cars are the true heroes. Romantic interludes are represented by automobiles pulling up alongside each other at midnight on a long stretch of highway. Car crashes must do double duty: they serve as both spectacle and comic relief. This film, as mechanical as a lube job, gives the distinct impression that it could have done without characters completely. A good thing that people are still required to get cars started and keep them on the road...