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Word: hollywoodized (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

...unending search for titles that will make good reading on theater marquees, Hollywood is still hard to satisfy. Among the latest title changes: Where Men Are Men to Fancy Pants; A Mother for May to Father Is a Bachelor; Theodore Dreiser's An American Tragedy to A Place...

Author: /time Magazine | Title: Cinema: Marquee Bait | 11/21/1949 | See Source »

...despite the risks, the expense and the wear & tear on its most precious commodities, Hollywood is convinced that the personal-appearance tour is here to stay-at least until the box office flourishes again. Explained a press-agent last week: -"You can't just let your product go into a theater casually any more...

Author: /time Magazine | Title: Cinema: In the Flesh | 11/21/1949 | See Source »

...from Hollywood, two dozen movie stars were hard at work last week at a booming cinema sideline: the personal-appearance tour. Braving the clothes-tugging of fans and the baying of autograph hounds, seven- stars had journeyed to London to show themselves at this week's Royal Film Performance. O'nce disdained as a last resort of the screen's has-beens, personal appearances have grown into a multi-million-dollar studio campaign to pep up a sluggish box office. Hollywood has learned that a star in the flesh can fatten a cinemansion's receipts...

Author: /time Magazine | Title: Cinema: In the Flesh | 11/21/1949 | See Source »

...make a movie in England, Robert Taylor found two bobby-soxers under his stateroom bed on the Mauretania. As a fledgling of 21, making his first tour, William Holden suffered hotel-room invasions by voracious women. In 1946, at London's first Royal Film Performance, a Hollywood contingent headed by Ray Milland touched off a mob scene that sent three fans to the hospital and 100 to first-aid stations...

Author: /time Magazine | Title: Cinema: In the Flesh | 11/21/1949 | See Source »

...moments of hard cynicism. The credibly forlorn scenes between the heroine and her brother (Arthur Kennedy) barely suggest a relationship that the Johnston Office might have scrutinized more closely. And Ladd's scenes with a cold and seedy blonde (June Havoc) show a consistent disconcern with what Hollywood knows as real love. Trying for and missing the punch of Double Indemnity, waltz-paced Deadline is further debilitated by Ladd's paralyzed imitation of Alan Ladd...

Author: /time Magazine | Title: Cinema: The New Pictures, Nov. 21, 1949 | 11/21/1949 | See Source »

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