Word: glamourizing
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Dates: during 1990-1999
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...acceptance from the country he adopted. From the start of the fated relationship, the force that pulled Diana toward the Fayeds was powerful: beyond sharing their sense of rejection, the princess undoubtedly craved the cocoon made possible by Dodi's family planes and mini-palaces, as well as the glamour of his Ritzy life. And after years in a family repelled by emotion, here was a family driven by it, whether in its public vendettas or in its private Mediterranean moments. To embrace all this, Diana, having left one dynasty that had used her, was ready to enter another...
...last was Dodi, an even more exotic figure than his predecessors, an international playboy, who was clearly attracted to Diana as the most celebrated glamour-icon of our time. Yet Diana seems to have had a great hope for this latest love, reportedly confiding in a friend the day before her death, "For the first time in my life I can say I am really happy...I again feel loved." These words strike the ear as naively trusting, almost childlike. For a woman fated to die an imminent, hideous death, they have the ring of unbearable pathos...
...among the basic human ambitions, of course, an all but universal fantasy. Who--except for nuns and monks, say, who are content with God's radiant attention--sets out in life to remain obscure? Fame is fun--and vindication. One need never be lonely, anywhere, ever. Fame has style, glamour, money, attention; ignites the sudden light of recognition in strangers' eyes, commands the comic deference of headwaiters as they sweep you past the serfs and hoi polloi to the best table...
...film basically follows the misfortunes of three Los Angeles cops as they trace the links among the murder of a corrupt colleague, a pioneer of sleazoid celebrity journalism (Danny DeVito, who brings huge comic relish to the role), a shadowy social climber (David Straithairn), who is enamored of underworld glamour, a call girl (an entrancing Kim Basinger) working for a service whose employees are obliged to imitate movie stars (she's the Veronica Lake look-alike), and, eventually, major players in the Los Angeles law-enforcement hierarchy...
Toward the end of For Ever Mozart, a kid standing in line for the movie we have just seen hears the plot and says, "Let's go see Terminator 4." But Godard's films are worth seeing for his encyclopedic wit, the glamour of his imagery, the doggedness of a man who won't give up on modernism. His crabby films are, in truth, breathlessly romantic--because he keeps searching for first principles in the pettiest human affairs. Godard gazes at the intimate and finds the infinite...