Word: glamourization
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Dates: during 1990-1999
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...times Alan Rudolph, the director (and co-writer) of Mrs. Parker and the Vicious Circle, seems to have a larger purpose, which is to challenge the supposed glamour of the bright, bibulous young writers who drew themselves up to the round table at Manhattan's Algonquin Hotel in the 1920s. Yet Rudolph remains of two minds about his subjects. He wants them to charm us, but he also wants to show how their infinite distractability stunted their lives and careers. His ambivalence creates not an intriguing thematic tension but merely confusion...
Connie (Lisa Nosal) is the first character in the boat. As a tall leggy brunette of wealth, Nosal embodies the swank decadence of 1940s glamour. She's tougher (and taller) than most of the men. Only once does she loose her cool, when she slaps another passanger across and then has to slither back to him for reassurance. She seduces Kovacs (Dylan ) but the intimacy between them seems so forced...
...dogs of haute couture -- designers, models, financiers et al. -- during one of the big pret-a-porter ("ready-to-wear") shows in Paris last spring. Using the movie's incredibly disparate and big-name cast -- ranging from Stephen Rea to Sophia Loren to Danny Aiello -- Altman goes after the glamour society's pretensions and pointlessness. But, saysTIME Movie Critic Richard Corliss, Pret-a-Porter "is a high concept poorly executed."Post your opinion on theArts & Culturebulletin board...
Sorry, folks, but the show's a hit, thanks in large part to Glenn Close. The actress projects authentic glamour as Norma Desmond, the demented former silent-screen star who wins her final close-up on a police blotter. Close starred in the L.A. production and won the Broadway part after Lloyd Webber reneged on a contract with Patti LuPone, the creator of the role in London; it cost him $1 million to buy LuPone out. Faye Dunaway, meanwhile, was engaged as Close's successor in L.A., only to be fired when Lloyd Webber decided her voice...
...musicals, those theme parks with song cues, and a few dramas (usually developed elsewhere, often with subsidies). But it is now only one stop -- perhaps the biggest, and at $75 a top ticket surely the priciest -- on the world tour of hits. For original work, for vitality and glamour, more than ever, off- Broadway is the place...