Word: hollywoodized
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Dates: during 1930-1939
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When they get back to their Hollywood villa, complete with swimming pool and swans in the duck pond, Maine learns that in her next picture his wife will play opposite Niles's newest male star and that his own halcyon days in Hollywood are over...
...private tragedies of Hollywood cinemactors are something which the rest of the world, except possibly the readers of cinemagazines, can take in its stride...
...conceived the story from which Carson, Dorothy Parker and Alan Campbell wrote the screen play, handsomely photographed in the Technicolor which its producer, David Oliver Selznick, is pioneering with increasingly fortunate results, it emerges as a brilliant, honest and unfailingly exciting picture which, in the welter of verbiage about Hollywood heretofore contributed by stage and screen, stands as the last word and the best...
...until, with three weeks rent due at her boardinghouse, she gets a job as waitress at a party given by Producer Oliver Niles (Adolphe Menjou), does Esther encounter her hero in the flesh. By this time, like the rest of Hollywood, she is aware that Norman Maine (Fredric March) is an habitual drunkard whose dipsomaniac pranks are an intolerable nuisance or an aspect of his charm, depending on the point of view. To Esther, whom Maine accosts in the kitchen, escorts home and brings to the studio for a screen test, they are presumably the latter. To Niles...
...Anita race track, are related with superlative detachment. They lead up to the climactic scene in which sunset on the Pacific-a magnificent shot which is possibly the best individual justification of Technicolor yet seen on the screen-tempts Maine to an appropriately exhibitionistic suicide, leaving Esther to a Hollywood funeral in which an admirer steals her veil...