Word: coppolas
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...movies are those that use sex and violence to push the audience to some new and uncharted psychological frontier. That is what happened in Last Tango in Paris, where Bertolucci used raunchy sex to challenge the conventions of romantic love; it is also what happened in The Godfather, where Coppola used gore to undermine the sanctities of the American family. Though imperfect, Michael Cimino's The Deer Hunter is as powerful as those bombshells of the early '70s. This excruciatingly violent, three-hour Viet Nam saga demolishes the moral and ideological cliches of an era: it shoves...
DIED. John Cazale, 42, an actor who went straight to the private heart of his every characterization; of cancer; in Manhattan. Cazale found his widest success as Fredo, the slow, shy, forever startled, finally traitorous older brother in Francis Coppola's Godfather films. Other parts-notably as Al Pacino's out-of-tune partner in Dog Day Afternoon-confirmed Cazale's gift for searching out the darkest shadows in a role, then rendering them with shades of wit and unswerving compassion...
...parameters. We're trying to make a company that will respect the personality and individuality of film makers. Part of my good fortune is to be making progress in that direction. I feel it's a destiny of sorts." He is already helping, free of charge, his friend Francis Coppola cut his epic Apocalypse Now and trim it to something like four hours...
...major studios. Run from a dingy Manhattan headquarters, U.A. has no production facilities, but operates in effect as a banker and distributor for movie people seeking an honest count at the box office and exceptional artistic freedom. It has attracted such diverse talents as Woody Allen, Francis Ford Coppola and Joe Levine. Laments Producer Norman Jewison: "You could walk into United Artists with any crazy dream, and no one would say it was preposterous." U.A.'s venturesomeness paid well too: its 1977 revenues of $469 million from movies, TV rentals, records and music publishing represented a 24% increase, while...
This $8 million epic, Bertolucci's first effort since Last Tango in Paris, is a fabulous wreck. Abundantly flawed, maddeningly simpleminded, 1900 nonetheless possesses more brute poetic force than any other film since Coppola's similarly operatic Godfather II. If Bertolucci irritates as much as he dazzles, he never bores: his extravagant failure has greater staying power than most other directors' triumphs...