Word: garlanding
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Midler has been compared to everything from Dorothy Parker in drag to the entire chorus line of beruffled hippos in Fantasia, and she shows traces of a dozen other singers: Streisand's nose and extraordinary head tones, Garland's saturation emotions and devoted homosexual following, Fanny Brice's waifish vulnerability, Joplin's floozy eleganza in attire and her tendency to egg audiences on to hysteria. But Miss M's secret is that she is not really like those others: she is acting like them. "I just try to have a good time...
WHAT they've liked a great deal lately is the movie A Doll's House (the Patrick Garland directed version). Tennis placed a sorry second the week the movie hit Detroit. Middle-aged women in laced panties and tasselled socks scurried around the court as if they had just added 'Liberated' to the "Ladies Tennis League." The movie must have been made for them...
...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of femininity: women should be seen and not heard. She finally slams the door...
...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of feminity: women should be seen and not heard. She finally slams the door...
...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of feminity: women should be seen and not heard. She finally slams the door...