Word: fitzgeralds
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Dates: during 1970-1979
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HOLLYWOOD OF THE 1930s is a vast, vulgar and meretricious beauty, and Monroe Stahr, boy wonder, is at her service. Stahr's business is making pictures, transmuting the dreams of Depression-deadened America into vendable celluloid. His is an Horatio Alger story with an F. Scott Fitzgerald twist, a saga of material success rooted in romantic illusion. For a while, Stahr can have his cake and sell it too; but the crisis comes when he tries to shape his own life in the image of the movies by snatching happiness from an ill-fated love affair. For Fitzgerald, success...
Stahr is not simply another Jay Gatsby. Fitzgerald was far older when he wrote The Last Tycoon, and the romantic fervor which defined Gatsby has been replaced in Stahr by a "mixture of common sense, wise sensibility, theatrical ingenuity, and a certain half-naive conception of the common weal." A paternalistic employer of the old school, Stahr, like his literary forerunner, is condemned to repeat the past in an age which values only the present moment. In contrast to Gatsby, however, his nemesis is not the carelessness of the very rich but the more modern venality of American capitalism...
...faults of The Last Tycoon as a movie are mainly those of the book, to which screenwriter Harold Pinter has, on the whole, been faithful. What Fitzgerald left us when he died was only a fragment of a novel, a draft of a story still halfway from completion. Fitzgerald's narrator is Cecilia Brady, the daughter of Stahr's business partner, who views Hollywood "with the resignation of a ghost assigned to a haunted house." It is through Cecilia, whose gaze is at first glazed by infatuation and later embittered by cynicism, that we meet and experience Monroe Stahr...
...women professors and professionals, until their budgets reflect an equal commitment to male and female athletic activities, until there is equal respect, encouragement, and opportunity for the achivements of women students, the option of women's colleges must be maintained. Elisabeth Griffith Fellow, Institute of Politics John Fitzgerald Kennedy School of Government
...fury of last-minute creativity, is working on bits of poems and novels. He has a homosexual lover (Mandy Patinkin) who is desolated, and a stand-up lush of an ex-wife (Patricia Elliott) whose sassy words rain mockery on all. Finally there is a cranky old biddy (Geraldine Fitzgerald) who will not go gently into any night. Her slavishly devoted daughter (Rose Gregorio) fears that all meaning in her own life will slip away with her mother...