Word: hallmark
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...Steenburgen's portrayal of Phoebe is an impeccable one. Unfortunately, this does not make her a viable romantic focus. All smiles, playing with ducks and little children, helping Jason's pregnant wife do her exercises, or just staring, wide-eyed, at Jason, she is about as engaging as a Hallmark card. Although Steenburgen does try, there's no room for the pizzazz of her Oscar-winning portrayal of the long-suffering wife in Melvin and Howard here...
...special that Producer Dick Clark is syndicating nationally in September. Among those who sang Charles' praises: Glen Campbell, Lou Rawls and, by recorded message, Stevie Wonder, who was pretaped doing an old Charles hit slightly reworked into Hallelujah, I Love Ray So. Tears and cheers are the hallmark finish to such show-biz bashes. Charles provided both with his familiar, still wrenching rendition of America the Beautiful...
...incestuous intimacy of a village in which most of the inhabitants not only are related, but actually live together under one roof. In such close quarters, there are no secrets. When Martin finds that he is impotent, for example, the rest of Artifat finds out too. Perhaps the hallmark of this communal living is the scene in which the wedding guests gather around the nuptial bed, tossing advice and lewd jokes to the newlyweds blushing under the covers. Small wonder Martin rolls over and goes to sleep as soon as they've left the room...
...vows concocted for those weddings seem period pieces now. They were oppressively poetic, gushily confessional. They were sweet and intimate and profound and occasionally metaphysical, like a Hallmark card. They were illuminated by moonbeams of Kahlil Gibran ("Sing and dance together and be joyous, but let each one of you be alone") and drenched with fragrances of Rod McKuen. At one wedding of the time, the bridegroom rhapsodized: "It is therefore our glorious and divine purpose to fly mountains, to sow petalscent. . . to glorify glory, to love with love." His bride answered: "We hereby commit ourselves to a serenity more...
...watch him explore) with only the vaguest notion of what he might do with it. Then, with all his co-workers assembled, with Chaplin doing detailed demonstrations of their pantomime ("he became me," Cherrill remembers) and working up the long, intricate comic lines that are his art's hallmark, the cameras would turn. And turn. And turn some more, through hundreds of takes. For it was only by studying what Chaplin the comedian had done that Chaplin the director could judge his work in progress. In The Cure (1917), for example, he starts with a simple entrance, pushing...