Word: hollywood
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Dates: during 1960-1969
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...Tunnel under the situation, come up behind the guards, and-POW!" That was Lee Marvin telling Roger Ebert, film critic of the Chicago Sun-Times, how to handle an interview with one of those tough-cookie Hollywood types like-well, like Lee Marvin. "It's the only way to do an interview. Hit them straight on, or the s.o.b.s will clobber you every time. Come on now: 'Is it true?' Ask me something, 'Is it true?' " So the critic did, asking whether Marvin was the highest-paid actor in Hollywood. "That...
...century; of pneumonia; in Manhattan. Beautiful and honey-blonde, the daughter of a wealthy Alabama Congressman, Tallulah could count only three genuine hits in a career that encompassed literally scores of plays and movies: Broadway's The Little Foxes (1939) and The Skin of Our Teeth (1942) and Hollywood's Lifeboat (1944). Yet even to the flops she brought the kind of fierce power and impish delight that captivated friend and foe alike. Tennessee Williams called her a cross between a tiger and a moth, and her performance offstage was the true measure of the actress. Lavish beyond...
Regardless, the film has a nice little story and Hollywood can still handle these things with class now and then. A scene between Rock Hudson and Patrick McGoohan when the latter reveals the nature of the mission we've been wondering about for two hours is a model of well-written exposition, neatly paced and satisfying to all. Other crucial plot points crumble in treatment: the obligatory submarine flooding scene is telegraphed too early by deliberately distracting conversational small-talk injected suddenly into a script previously given over to cut-and-dried function. More irritating, 90 percent of the mechanics...
...wish there were more to say about films like these. A year and a half ago Hollywood's apparent but inconclusive degeneration could justify enough nervousness to take the time to carefully pull apart a God-awful film like Frankenheimer's Grand Prix; but these days it's harder to get mad and, as things stand, I guess Ice Station Zebra isn't all that bad. It has the potential for being a good picture, but hanging over it are the ghosts of rewrite, of producer Martin Ransohoff whittling away at anything individual, leaving a gutless synthetic: sure-fire product...
...make good pictures out here--only moneymakers with as little risk as possible." Neither Lang nor I could think of a single working director here who actively opposes this true production code: "They've all given up," Lang said shaking his head more in irritation than sadness, "Nobody in Hollywood fights anymore...