Word: hollywood
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DIED. MARVIN MITCHELSON, 76, Hollywood divorce lawyer whose advocacy of the right to alimony sans marriage ("palimony") earned him a client list that read like a seating chart for the People's Choice Awards; in Beverly Hills, Calif. He gained fame in 1976 when he won a landmark lawsuit against actor Lee Marvin, whose lover, Michele Triola Marvin, had abandoned her nightclub singing career to be his companion. Mitchelson also represented such celebrities as Joan Collins and Sonny Bono but later served more than two years in prison for tax fraud...
...Padre Amaro), a randy teenager on a spree (Y Tu Mamá También). In The Motorcycle Diaries, which just opened, he incarnates the young Ernesto Guevara, soon to be Che. Bad Education follows in November, and after that, who knows? The kid from Guadalajara, Mexico, is high on Hollywood's muy caliente list, though he has yet to make a film there. But the future is limitless for an actor who can do anything...
...wants. "I'm pretty open to work anywhere in the world," he says, "including the United States, of course." He recently made an indie drama, The King, set in Texas, in which he plays William Hurt's son. He is reputed to have turned down some big Hollywood roles, though he won't reveal which ones, "because that's not professional to say." But he is ready for his American close-up and at ease with his impending eminence. "Some things you can control, like the performance you give. But stardom is just a consequence. It's not important...
THERE IS A LONG-STANDING HOLLYWOOD FANTASY ABOUT HOW to succeed in American politics. From Mr. Smith Goes to Washington to Bulworth, the story is the same: the hero is liberated when he breaks free from political convention and starts speaking from the heart. In the old days, Mr. Smith fought political bosses. Nowadays the bosses are political consultants. Senator Bulworth--in Warren Beatty's 1998 film--is liberated after deciding to commit suicide while watching his re-election...
Toback may seem overzealous in his denouncement of the tenets of Hollywood cinema, but, nonetheless, it’s difficult to deny that very few mainstream directors could pull off not only the sexual content, but also some of the visual and especially sonic experimentation of When Will I Be Loved in a studio setting. This is to say nothing of his earlier films, particularly considering that his latest is actually more digestible than more intense offerings like 1999’s racially charged drama Black and White...