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...resemblance between Chandler's book and this movie is not only coincidental but probably libelous. The private detective Philip Marlowe was Chandler's surrogate knight, his field of battle what Chandler called "the shadow line," his adversaries the people who walk it. In his present incarnation (Elliott Gould), Marlowe becomes a chain-smoking shlemiel. Gould looks less like a private eye than like a junkie half on the nod slouching along Sunset Strip looking for a fix. The only dope here is Marlowe himself. He stumbles into a job of playing wet nurse to an alcoholic fount...

Author: /time Magazine | Title: Cinema: A Curious Spectacle | 4/9/1973 | See Source »

HOWEVER, EVEN IF ALTMAN can't rewrite a script (mostly written by a hack, Leigh Brackett), or restrain the mugging of top-billed Elliott Gould, he is such a gifted director that his visuals and tossed-off stage business alone hold our interest. He crams his frames with different people doing interesting things, like gangsters taking off their clothes as a sign of group solidarity, or a Malibu Colony security guard impersonating Hollywood stars. If some of the shtiks misfire, Altman keeps on coming with others that don't. And aside from Gould and a stoned-out Sterling Hayden (Altman...

Author: By Michael Sragow, | Title: Kissing Off Chandler | 3/26/1973 | See Source »

Last week, early in its current six-week season in Manhattan, the Jeffrey was busy mixing fun with flimsiness to a sometimes annoying degree. Jive, by the talented young choreographer Eliot Feld, borrowed Morton Gould's Benny Goodmanesque Derivations for Clarinet and Band and set out to pay tribute to the jazz dances of the 1930s and 1940s. What it actually accomplished was to certify all over again that nobody, including Feld, can match Jerome Robbins (Interplay) at the art of choreographing to slick jazz...

Author: /time Magazine | Title: Dance: Flimsy Fun | 3/12/1973 | See Source »

...sense, merge or change identities. A work of poetic images that can be appreciated on many levels, it may be Bergman's best film. The Passion of Anna (1969) is also very good, and The Touch (1971)--well, what could you expect from Bergman and Elliot Gould...

Author: NO WRITER ATTRIBUTED | Title: the screen | 3/8/1973 | See Source »

...roll shows as a kid in Brooklyn in 1954. Earnings from sales and royalty percentages are well into six figures a year (last year: about $250,000). Sometimes agrees to take a lower percentage if a record fails to rise to Top Ten on charts. Resembles Actor Elliott Gould. Has what he calls "a regulation...

Author: /time Magazine | Title: Music: The Men Who Market the Mania | 2/12/1973 | See Source »

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