Word: girls
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Dates: during 1980-1989
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...clothes together, and cook Thanksgiving dinner, but something's clearly missing, as Debbie discovers one night when she sifts through Danny's desk drawers in order to find out more about him. Looking at photos of a high school aged Danny posing for pictures before the prom with a girl whose name she didn't know in a house she's never seen with parents she's never spoken to, Debbie bursts out crying. "I don't like not knowing you," she sobs, "I want us to be a couple." But it's soon apparent that the journey backwards from...
...Immovable, she gazed upon the revelry with her forthright, rather stern expression. While not exactly a wallflower at her own birthday party, she appeared slightly aloof, distant. What's the big fuss? she might have been thinking. The question is understandable: after 100 years there is little the old girl has not seen before. But as an immigrant herself, she is perhaps even more sensitive to the curious ways of her adopted country, silently indulgent of good old American exuberance, excess and, yes, glitz. Though millions of visitors gawked at her, perhaps no one looked quite closely enough. Let them...
...powerful perception: when a man looks at a woman, he sees the fiction he has created of her, and out of this visionary myopia, this need to fashion a Galatea or a Bride of Frankenstein, come love, lust, violence and art. Simone (Cathy Tyson), a chic London call girl, understands this impulse in men and knows how to indulge it to her profit. Well, it's a living. But to George (Bob Hoskins), assigned by a mob boss to be Simone's chauffeur, it seems a living hell. How can she endure these rough hands and tawdry nightdreams...
...working-class pals and the two young women they fancy, the play was rancid, funny and dead-on-target. So why would Screenwriters Tim Kazurinsky and Denise DeClue want to turn it into a Pillow Talk for the nouveau quiche set? Now the story is about a nice girl (the exemplary Demi Moore) and a pretty guy (Rob Lowe) who triumph over their busybody buddies (Elizabeth Perkins and the splenetically funny Jim Belushi) to form a profoundly modern relationship. The movie is so intent on ingratiating itself with its audience that it betrays the meaning of its source...
Toward the end, worn down by their geek chorus of friends, Lowe and Moore split up. Faced with this boy-loses-girl plot, Director Edward Zwick might have tried dramatizing the poignant detumescence of a love affair. It's part of the emotional nitrogen cycle: people do get over the people they have loved. But not people in Hollywood movies--at least not in movies made by directors so ruthlessly intent on imitating models they could never believe...