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...picked Karen Black (Five Easy Pieces) as best supporting actress instead of Winner Helen Hayes (Airport). Otherwise, though, Mrs. Evans was as prescient as could be: she correctly named Patton for best picture, best direction (Franklin J. Schaffner), best actor (George C. Scott), and best original screenplay (Francis Ford Coppola and Edmund North); Glenda Jackson (Women in Love) for best actress; John Mills (Ryan's Daughter) for best supporting actor; Francis Lai (Love Story) for best musical score. It was too much to expect that she would also have picked the Oscar ceremony's best decolletage, which clearly...

Author: /time Magazine | Title: Show Business: Prize Day at Global Village | 4/26/1971 | See Source »

VINCENT J. COPPOLA Houston...

Author: /time Magazine | Title: Letters, Feb. 22, 1971 | 2/22/1971 | See Source »

...meatheads is overused and thereby cheapened. They haven't the taste to restrict their expressive means to their slight ends, which would give us at least well-crafted films. By lending directors the license of artists the current "aesthetic" prevents them from even learning their craft competently. Francis Ford Coppola is praised for sloppy work while Vincent Canby makes snide cracks about an artist like Douglas Sirk...

Author: By Mike PROKOSCI I, | Title: The Moviegoer The Damned at the Cheri Theater | 3/4/1970 | See Source »

Once upon a time, Hollywood was a town without a country. To portray small-town America, camera crews would generally go no farther than the studio lot, where an idealized Main Street stood gleaming in the California sun. It is much to the credit of Director Francis Ford Coppola that he refused to accept that kind of prefabricated fakery. Bundling a handful of actors and technicians into a fleet of cars, he drove from New York to Colorado, filming a story about a young married woman on the run from responsibility. The result, called The Rain People, has such...

Author: /time Magazine | Title: Cinema: Only Geography | 9/19/1969 | See Source »

...Coppola's other films (You're a Big Boy Now, Finian's Rainbow) have been overloaded with a kind of lighter-than-air dramaturgy, and The Rain People sadly falls victim to similar sentimental pretentions. The relationship between Natalie and Kilgannon derives from Of Mice and Men, and much of the dialogue is sophomoric Salinger, as when Kilgannon explains that "the rain people are people made of rain. When they cry, they disappear altogether because they cry themselves away." Still, the geography is simply splendid. Coppola seems to sense that lying between the Hudson River...

Author: /time Magazine | Title: Cinema: Only Geography | 9/19/1969 | See Source »

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