Word: hollywood
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Dates: during 1960-1969
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Governor Ronald Reagan calls the strike and boycott "immoral" and "attempted blackmail." Senator George Murphy, like Reagan an old Hollywood union man-turned-conservative, terms the movement "dishonest." The Nixon Administration has seemed ambivalent, putting forward legislation that would ostensibly give farm workers organization rights but would also limit their use of strikes and boycotts. The Pentagon has substantially increased its grape orders for mess-hall tables, a move that Chavez and his followers countered last week by preparing a lawsuit to prevent such purchases on the ground that grapes are the subject of a labor dispute. Some auto-bumper...
Despite its persuasive power, the auteur theory suffered from one serious flaw. Though the Cahiers critics had an encyclopedic knowledge of cinema, they understood little of the Hollywood System. From the '30s onward, American directors have often been mere foremen, called in for the job after the laborers -including the actors-were hired by the studio. Some, like John Huston, are capable of severe impressive films (The Maltese Falcon, The Treasure of Sierra Madre). Others are erratic job-by-job film makers whose unifying philosophy seems to be a healthy respect for the box-office receipts...
...create characters of psychological breadth and substance. His newest project-a life of Napoleon-should answer that question. Orson Welles' old appraisal still holds: "Kubrick is a great director who has not yet made his great film." ∙ MIKE NICHOLS. Unlike Kubrick and Perm, Nichols arrived in Hollywood with formidable riches and reputation. As an entertainer he had been (with Elaine May) a cutting satirist. As a Broadway director he was known as a Midas: everything he directed became a hit. His first film, Who's Afraid of Virginia Woolf?, proved to be an erratic success notable...
Catching Up with Theory. The director's battle with Hollywood is far from over. Recently, the associate producer of Isadora, Universal Pictures, hacked away 39 minutes without the assent of Director Karel Reisz. But for The Midnight Cowboy, John Schlesinger achieved total freedom. "United Artists didn't come near me," he boasts. And Paramount Pictures has granted Mike Nichols final authority over Catch-22. It is happily in the French tradition that the facts are finally catching up with the auteur theory...
...Dunne's telling, Production Chief Richard Zanuck reveals himself as tough, sometimes crass, but possessed of incredible patience. In one fabulous scene, he appears as the New Hollywood haunted by the Old Hollywood, which comes on as a fond, hapless parody of itself. Confronting him in his office are three William Morris agents and a portly director named Henry Koster, who wants to match a 1937 Koster triumph (Deanna Durbin and Leopold Stokowski in A Hundred Men and a Girl) with a new musical concoction. Koster outlines the story. A touring symphony orchestra is about to return...