Word: hepburn
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Dates: during 1990-1999
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This property also has a history: as a successful Broadway play, then as a Billy Wilder movie starring three beloved figures, Audrey Hepburn, Humphrey Bogart and William Holden. And, as you'll recall, it has a nice little story to tell too. It's the one about the chauffeur's daughter (Julia Ormond), living over the garage on a vast Long Island estate, in love since childhood with David (Greg Kinnear), the playboy living up the driveway. When she grows up and he notices her, that threatens his engagement, which in turn threatens the merger of two family firms that...
...Cinderella stories don't date any more than Jane Austen stories do. And the new acting team isn't half bad. Ford's muttering misanthropy may actually be funnier than Bogart's harder, more sardonic take on Linus. Ormond is no Audrey Hepburn, but Hepburn was sui generis, and Ormond does have a shy charm all her own. And there is a wastrely weakness about Kinnear's good looks that suits David more neatly than Holden's square-cut handsomeness...
...confinements money imposes on the young--its return looks opportune. Between its first appearance and the latest, however, something seemingly bigger than a Depression (or a world war or a revolution in social mores) has arisen to obstruct its revival: a movie. In 1938 George Cukor directed Katharine Hepburn and Cary Grant in the leads, and they placed their stamp on the roles--indelibly...
...risks were worth it from the beginning of Hollywood, as the moguls who in 1916 paid Mary Pickford an astounding $10,000 a week could attest. In the '30s and '40s, stars like Stanwyck, Hepburn, Davis, Garbo and Dietrich were not only paid as much as male stars but cast in strong roles. But then women stars retreated into the domestic comfort of TV, whose agenda they still set. And the guys took over the movies. The major exceptions were Barbra Streisand, Goldie Hawn and Bette Midler, stars who became producers and are heroines to today's generation of actress...
...Phyllis, Sarah Burt-Kinderman progresses nicely from vain air head to vamp to madwoman. Her sarcastic banter with Bishop in the play's first scenes has something, appropriately enough, of Katherine Hepburn's archness. She is especially impressive in the rape scene, where Phyllis' revulsion and hysteria are truly disturbing. Even in the play's worst scene, in which Phyllis recalls a nightmare about fat men in skirts which comes dangerously close to moralizing about sexual intolerance, Burt-Kinderman is effective and at ease...