Word: dreyfusses
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...twist: imagine a Clinton presidency if Hillary had died a few years before the election. He's been in office a while and enjoys high approval ratings. His likely opponent for re-election is the leader of the Senate Republicans--a crabby Kansan named Bob (played by Richard Dreyfuss as if he were a geyser about to gush right-wing bile). On the domestic front, the President has two things to care for: a daughter about Chelsea's age and a man-size libido. He's behaved himself but, in his budding desire for Sydney, hopes the nation might...
Well, for one thing, it's the Clintons' sheer, star-loving promiscuity. Making time during the first 125 days for Billy Crystal, Barbra Streisand, Sharon Stone (twice), Richard Gere, Richard Dreyfuss, Paul Newman and Joanne Woodward, Quincy Jones, Sinbad, Christopher Reeve, John Ritter, Sam Waterston, Hammer, Lindsay Wagner and Judy Collins is a remarkable achievement. When Hillary Rodham Clinton, after seeing Liza Minnelli sing on TV, calls and asks her to stay overnight, it looks frivolous, a little unseemly...
...drag trophy stars to the White House correspondents' dinner every spring), so naturally they are quick to detect a groupie instinct in Clinton, and to give a knee-jerk, pseudo-high-minded critique. But isn't George Will a TV performer? And is Sam Donaldson more profound than Richard Dreyfuss...
...mean mother (Irene Worth); her 36-year-old daughter (Mercedes Ruehl), ! whom the mother has contrived to keep in a state of childish dependency; and a rebel son (Richard Dreyfuss), who has become a gangster: confine just these three most colorful members of the Kurnitz family in a small space (the apartment above Mom's candy store in Yonkers, circa 1942), and claustrophobia begins to itch at one's soul. Add a couple of lively boys, Jay and Arty (Brad Stoll and Mike Damus), forced by circumstances to live with Grandma for the worst part of a year...
...movie's title). Director Coolidge, who did a fine job with another eccentric family in Rambling Rose, moves quite gracefully within the confines of a piece only minimally "opened up" for the screen. Ruehl has two poignant arias announcing her realization of what her mother has done to her. Dreyfuss spritzes high-spirited resentment, and Worth's steely old woman, determined not to show softness to anyone, is a powerful presence. Such suspense as the film displays derives from the question of whether someone, somehow can crack her open...