Word: hollywood
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Dates: during 1960-1969
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...shock of delight. There are sequences in his films that no other director would have dared to try, or could have brought off half so well: Alphaville's portrayal of the future as nightmare, achieved through location-shooting in present-day Paris; the bittersweet evocations of prewar Hollywood musicals in A Woman Is a Woman; the female mood of sensual boredom in The Married Woman...
Power Play. Which indeed the plot resembles. Myra is actually a Myron who has had a Christine Jorgensen-type operation and is passing through Hollywood, trying to rape havoc upon unwary heterosexual males. To Myra, sex involves power play, with more power than play; the book's most harrowing scene is Myra's cruel seduction and humiliating buggery, with an artificial penis, of an all-American male...
...homeland as they have always been at trade and commerce. That is the impression brought back last week by Western newsmen who flew into the Biafran city of Port Harcourt in a darkened plane to get their first look at Nigeria's rebellious state. Though Biafra hired a Hollywood public relations man to organize the trip, TIME Correspondent Friedel Ungeheuer, who went along, learned enough on his own by moving around the country, talking with Biafrans and Europeans and interviewing Biafra's leader, Lieut. Colonel Odumegwu Ojukwu, to reach a few surprising conclusions. He found that...
...after an unsuccessful try at breaking into movies. Although his acting-so far-has been consistently awful, his European box-office success with the Dollar films jumped his price from $15,000 for Fistful to $250,000 for Ugly. He is riding even taller in the saddle now, as Hollywood studios seem to have decided that he is just right to play the kind of strong, silent, outdoor roles that once went to Gary Cooper. His next epic is MGM's Where Eagles Dare, in which he co-stars with Richard Burton and plays an officer...
...like an Arthur Goldberg speech, one of his more interminable. It is the ninth and last film to employ the talents of Spencer Tracy and Katharine Hepburn, and for that distinction a picture worth seeing; but on all other counts it stinks. Stanley Kramer has degenerated from one of Hollywood's more interesting bad moviemakers into one of its most maudlin. The crude but somehow compelling live-TV quality of Judgment at Nuremberg and Ship of Fools, painted with crayon and musicalized by DeVol, blessed with Sidney Poitier, reveals Kramer to be an exceedingly dull thinker and hardly any artist...