Word: hollywood
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...have elevated to the pop-cultural Pantheon in this column). I'm glad that Cohen has honored Geisel as a full-service wit: the humor-magazine work, the political cartoons, his cunning ad campaigns and Ted's creation of one of the most enduring, least endearing antiheroes in Hollywood cartoon history. What follows comes from studying the Cohen book, rerunning my favorites from Geisel's mid-period film work, and watching Peter Jones' excellent two-hour special for A&E's "Biography," which contains much poignant data about the artist's life that I've left...
...only to the military, were racier than commercially released cartoons could be: hell and damn in the dialogue, plenty of butt comedy, and mermaids out of Vargas, with large breasts and pert nipples. The films reveal what kind of cartoons the Warner Bros. guys would have made if the Hollywood censor had been a bit more lenient. They also display the Geisel wit in more luxuriant fester. Ted had written a grown-up children's book called "The Seven Lady Godivas" in 1940. Much later, he created, for his own pleasure, Beardsley-like art of a slightly bawdy nature...
...People here will work with the Antichrist if he'll put butts in the seats." JOHN LESHER, Hollywood talent agent, on whether allegations of anti-Semitism in The Passion of Christ will hurt director Mel Gibson's movie career
With due respect for his desire that Christ's sacrifice be understood by all and for the gratitude among Christians that a Hollywood deity has finally made an accomplished and utterly unironical Christian film, one can only hope that he has it wrong. The Christian story includes joy, astonishment, prophecy, righteous wrath, mystery and love straightforward as well as love sacrificial. The Passion of the Christ is a one-note threnody about the Son of God being dragged to his death. That may be just the ticket for some times and for some benighted places where understanding human torment...
...jostling for space with blockbusters (and the crappy U.S. flicks that cinemas run to ensure they get their hands on those blockbusters). So far, it has been a losing battle. But if a viable pan-European market could be created, Europe stands a chance of taking its place beside Hollywood on cinema screens, instead of just sulking in its shadow. If the revolution is coming, however, it is coming slowly. Until it does, Blind Spot director Slak, and others whose talents still go unseen outside their home countries, will keep going in the hope that one day their work will...