Word: hollywoodizations
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Dates: during 1990-1999
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...magazine's cover story, titled "Hollywood Beats Harvard!", Senior Editor David Brooks laments the passing of the "spiritual center of gravity" in the Clinton administration from "the faculty lounges of Harvard and Yale to the ballroom at the Century Plaza Hotel in Los Angeles...
...triumph of the Hollywood crowd in the White House leads Brooks to admit that "compared with the people who now set the tone for the Clinton administration, let's face it, those Ivy League meritocrats look like the Founding Fathers." Poor Richard Nixon--the godfather of conservative resentment of the Eastern Establishment--must be spinning in his grave...
...which will enable audiences to enjoy atheatrical moviegoing experience the wayfilmmakers intended." There's some hope left. Butbefore we get too excited and lose sight of whythe restoration effort had to occur in the firstplace, just remember what Welles had to say abouthis troubles: I'm not bitter about Hollywood'streatment of me, but over its treatment ofGriffith, von Sternberg, Von Stroheim, BusterKeaton and a hundred others...
...hell to save his wife (Annabella Sciorra) after she commits suicide in despair. The premise is fraught with difficulties. Although the plot is standard quest situation, it also demands that the film deal with questions of religion, God and the afterlife. The screenplay by Ron Bass gives the standard Hollywood compromise that eliminates God from the proceedings. By setting the film on earth, City of Angels and Ghost could avoid making definite spiritual claims, but having the film take place in heaven and hell makes the omissions in What Dreams May Come even more unsuitable...
Nowadays, everything in the movies is big. "Size does matter," and "bigger is better" are the two mantras which drive every new flick churning out of Hollywood's blockbuster factory. Godzilla and Armaggedon are the obvious examples--but the trend is beginning to infiltrate the once safe genres. What Dreams May Come, for instance, opens in theaters today with a love story that crosses both heaven and hell in order to make audiences feel. Do we really need perpetual "eye candy" to tell a story? Or more importantly, can a pure human drama still affect...