Word: hollywoodized
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Dates: during 1970-1979
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...pure Hollywood from start to finish. Fading torch singer moves in with tough-guy actor, and for six years their brawling, bibulous romance careens from movie locations to vacation spas to a Malibu beach house. Then, in 1970, he kicks her out and marries his high school sweetheart. His snuffed flame sues for half the $3.6 million he earned during their relationship, and their affair is recounted in steamy detail during eleven weeks of testimony...
...what Hollywood calls the "jiggly" syndrome of successful TV series featuring winsome leading women, Three's Company's Suzanne Somers has been one of the leading jiggleos. But now the sensuous half of the feminine two-thirds of Three's Company wants to act seriously. Somers is in London's Wembley Stadium shooting Yesterday's Hero, the story of a veteran British footballer fighting age and alcohol. In the female lead, she is a hip rock singer. The role is certainly more fulfilling than her only previous feature film credit, a wandering blond in American Graffiti whose one line...
...only military defeat. The forgetfulness amounted almost to national amnesia. Two or three years ago, literary agents would tell their writers: "I can sell anything you do, but not about Viet Nam." Except for a foolishly frisky little combat comedy called The Boys in Company C, Hollywood would not touch the war-unless you count John Wayne's 1968 Green Berets, which might as well have been produced by William Westmoreland. As Director Arthur Penn (Bonnie and Clyde) put it several years ago, "I don't believe the war in Viet Nam can be treated...
Here is yet another silly Hollywood soap opera about a damaged heroine. In this variation on the theme, pert young Nancy (Kathleen Quinlan) goes through the windshield of a car headfirst on her way to marry earnest young Michael (Stephen Collins). The prognosis is not good. Nancy requires 90 stitches, and, as her doctor points out, "there's not an awful lot left under those stitches." Is there a plastic surgeon in the house...
Klute. In 1971, Jane Fonda won an Oscar for this film She didn't work in Hollywood again until 1976. It's good to have you back, Jane, but Klute almost sustained us through those barren years. Somehow thrillers where the characters matter seem richer in atmosphere and tension--and Fonda's Bree Daniels, the call-girl who is the object of a shadowy killer, involves us so totally that the girl-in-the-abandoned-warehouse routine at the end doesn't even appear schematic (well, it does, but we're still scared to death). You gotta credit Alan...