Word: ephron
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...convenience and discomfort of a subway, the "cattle car." Anybody who is anybody in New York and Washington takes it at least twice a week. Senators, football players, lobbyists, lawyers and bankers scuttle between their spheres of influence, elbowing one another at the gate for favored seats. In Nora Ephron's Heartburn, the shuttle serves as a leitmotiv of power. Complaining about the shuttle is the next best thing to flying it. "New York begins the moment you board the shuttle," sniffs Washington Lawyer Travis Brown. "It's dirty, noisy, rude and expensive...
...Card, a thriller loosely based on the China policy of his former boss President Nixon. Particularly since Watergate, journalists have attained star quality, becoming part of the panoply of fictional heroes and villains. Indeed, Regrets Only hit Washington at the same time as the movie version of Heartburn, Nora Ephron's fictionalized account of the breakup of her marriage to Watergate Sleuth Carl Bernstein...
...would be, she thought, just the guy to offer sex, schmoozing and comic relief, between babies. Oh, yes, and they were famous, at least in the emerald ghettos of Manhattan and Georgetown. For Heartburn was a smart, tattling novel pretty much about its author, the saucy wit Nora Ephron, and her second husband, Watergate Wonder Boy Carl Bernstein...
...author of Heartburn was born knowing about star quality and its discontents; she is the daughter of Screenwriters Phoebe and Henry Ephron, who put funny endearments into the mouths of Tracy and Hepburn (Desk Set) and adapted Carousel for Hollywood. In Mike Nichols, Ephron fille has found the perfect director for her skewering humor. Once he invigorated cabaret comedy as half of the Nichols and May team; now he orchestrates the romantic abrasions of Nicholson-Streep and the nifty cameos of Steven Hill as Rachel's flighty dad and John Wood as a nightmare Alistair Cooke. Generous and precise, Nichols...
...novel relied on Ephron's cauterizing prose to anchor the reader; the movie's commentary is the dialogue that Streep's fine, suggestive face carries on with the viewer. Stranded in rage, this Rachel has only the camera as her therapist, and Streep will turn to it as to a friend, confiding a querulous eyebrow or subtle grimace, simultaneously inhabiting and commenting on her role. Nicholson has a tougher assignment. He is, here, only half a man, all surface and no substance, and finally he distances himself from Mark, his face going slack in a kind of moral torpor...