Word: hollywoodized
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Dates: during 1970-1979
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...HOLLYWOOD OF THE 1930s is a vast, vulgar and meretricious beauty, and Monroe Stahr, boy wonder, is at her service. Stahr's business is making pictures, transmuting the dreams of Depression-deadened America into vendable celluloid. His is an Horatio Alger story with an F. Scott Fitzgerald twist, a saga of material success rooted in romantic illusion. For a while, Stahr can have his cake and sell it too; but the crisis comes when he tries to shape his own life in the image of the movies by snatching happiness from an ill-fated love affair. For Fitzgerald, success...
...which screenwriter Harold Pinter has, on the whole, been faithful. What Fitzgerald left us when he died was only a fragment of a novel, a draft of a story still halfway from completion. Fitzgerald's narrator is Cecilia Brady, the daughter of Stahr's business partner, who views Hollywood "with the resignation of a ghost assigned to a haunted house." It is through Cecilia, whose gaze is at first glazed by infatuation and later embittered by cynicism, that we meet and experience Monroe Stahr. In a series of loosely-written scenes, Fitzgerald outlines Stahr's relations with members...
...film, even more than the novel, Stahr emerges as the only fully realized character amid a sea of Hollywood types. While retaining much of the original dialogue, Pinter and director Elia Kazan have dispensed with the device of Cecilia as narrator; instead, we see Stahr head-on, dominating the film in the same way that he dominates everyone around him. The extent of his control is partly a function of the script, but it is enhanced immeasurably by Robert DeNiro's charismatic performance. DeNiro is brilliant in the role, evoking alternately the shrewd competence and romantic vulnerability which together make...
Jones said his immediate plans are for a trip to Hollywood to work on a film with Sidney Poitier. He said his motive is "to make some money," which he said he has "great need for at the moment...
Fear of Flying possessed a bawdy exuberance. John Updike even found it Chaucerian. But How to Save Your Own Life is marinated in sour juices: dissolving marriage, curdled fame, Hollywood's treachery. "Ain't it awful?" the reader mutters. Erica/Isadora uses the book to settle old scores against her husband ("I married a monster, I think") and a hustling Hollywood producer who, she says, flimflammed her on the film rights to the bestselling first novel. Before she gets around to making the final break with Dr. Wing, Isadora has a lesbian affair, checks in with a brace...