Word: chaplins
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Dates: during 1960-1969
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...premiere promoters hustled Sex Symbol Brigitte Bardot off to Hollywood for the West Coast opening of Viva Maria! and Sex Symbol Sophia Loren had Manhattan all to herself. Well, not all. Such other delightful images as Julie Christie and Geraldine Chaplin paraded into Broadway's Capitol theater for the premiere of Doctor Zhivago, but the crowd saved the rave for Sophia, who didn't even play in the picture. She just tagged along in white mink cape and Dior gown with Producer Carlo Ponti, her once and future husband. In all the crush, Sophia and Carlo were beaming...
...proves again that she is a vital presence on the screen. Steiger, who makes his beauty-and-the-beast role a seething study of precariously balanced lusts, Ralph Richardson, Siobhan McKenna, Tom Courtenay and Rita Tushingham, all meet the film's exacting standard. In a vivacious debut, Actress Chaplin indicates that a striking resemblance to her father may be somewhat more than skin-deep...
...headlong rush of their interwoven destinies is a subtle, unifying symbol of Zhivago. Trains wail along outside the house where Lara and her mother's self-seeking lover (Rod Steiger) generate the first sparks of scandal. After the revolution, a train carries Yuri, his wife Tonya (Geraldine Chaplin) and his family away to the relative safety of the Urals; and Lean bears down on every detail of their flight across an endless white snowscape in which ordinary human values seem suddenly locked in deep freeze...
...plays Lara's and Zhivago's love child, found working on the set "terribly intense." Tom Courtenay grimly recalls being asked to pose as Strelnikov on the platform of the armored train: "No dialogue. No expression. But that bloody scene took two days to shoot." Geraldine Chaplin's most vivid memory is working in the hot Spanish sun while wearing black wool stockings, boots, three sweaters and a fur jacket: "I was so soaking wet, I felt I was leaving big soggy footprints...
...subtle genius of Chaplin's tramp or of Keaton's mote in the eye of an incomprehensible universe lay beyond the range of Laurel and Hardy. But they were lovable caricatures of the dolt in Everyman, a bow and fiddle striking delightfully dissonant chords in a mad world. Witless innocence was their hallmark. It purifies even a 20's sequence in which they are pursued, clad in underdrawers, by a pair of gorgon wives toting a shotgun to avenge some fancied infidelity-as they round the corner of an apartment house, a shotgun blast brings dozens...