Word: forman
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Dates: during 1980-1989
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...movie revolves around Rachel, a New York food writer, who meets, falls in love with and marries Mark Forman, a Washington columnist. These three events happen literally within ten minutes of each other. On their first date Rachel and Mark sleep together and she tells him, "I'm never getting married again." Lo and behold, the next scene is her wedding party...
...more modest setting, the church of St. Francis de Sales in Manhattan's Yorkville neighborhood, where he once served as an altar boy. His pallbearers were like a sampling of Cagney's many sides. They included Boxer Floyd Patterson, Dancer Mikhail Baryshnikov, Actor Ralph Bellamy and Director Milos Forman...
...Forman who directed Cagney in Ragtime, the 1981 film that brought him back into the public eye after two decades of retirement. After completing Billy Wilder's 1961 comedy One, Two, Three, Cagney vowed to quit filmmaking. Content in the company of his wife and a small circle of friends, he divided his time between two farms in the East and a home in Beverly Hills. He dabbled in painting, bred horses and collected antique carriages. But with the help of Cagney's associates, Forman lured the actor out of retirement to play Ragtime's canny police commissioner...
...spirit of assimilation, Hollywood has thrived by embracing those immigrants who would enrich it. Today one need look no further than the awards shows, or the bottom line, to spot the crucial contributions of foreign-born filmmakers to the Hollywood movie. On Oscar night this spring, Czech-born Milos Forman (see box) walked away with a best-director statuette for his work on the laurel-laden Amadeus. This year's first surprise hit, Witness, was directed by Australian Peter Weir; this summer's runaway "Gook" buster, Rambo: First Blood Part II, was helmed by the Greek immigrant George Pan Cosmatos...
With the triumph of the international style -- episodic and oblique, offering no easy meanings or solutions -- came the latest surge of immigrant directors and cinematographers. Some, like Forman, Soviet Filmmaker Slava Tsukerman (Liquid Sky) and the Cuban-bred camera magician Nestor Almendros, were sidestepping new tyrannies. Some, like Louis Malle (Pretty Baby, Atlantic City, Alamo Bay), sought a larger canvas on which to test their palettes. Many others were Australians and Englishmen attracted by the grand contradictions of a country with which they shared a language and part of a heritage. America was, of course, where the action was. Also...