Word: hollywoodized
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Dates: during 1970-1979
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...King of Marvin Gardens is a skeletal version of Five Easy Pieces robbed of its vital flesh and muscle fabric. It is a blood brother of the genre established with Midnight Cowboy, Easy Rider, Five Easy Pieces. These films bore the double burden of avoiding Hollywood debris and finding a voice independent of more practiced European avant-gardism. And they emerged as wholly American. Now Rafelson feels it his aesthetic duty to be new again. The problem is that his basic landscape hasn't changed, and so as be remodels his methods he sacrifices sincerity. The onetime pace-setter...
Died. Rudolf Friml, 92, prolific composer king of schmalzy, popular light opera in the 1920s (The Vagabond King, Rose-Marie, The Three Musketeers); in Hollywood. Trained in Prague as a classical pianist and composer, Friml moved to the U.S. in 1906 and within six years had written his first Broadway operetta. A master of the improbably plotted, swashbuckling romance, he eventually composed 30 major works that included a string of hit songs (Indian Love Call, Donkey Serenade). When Broadway tastes changed, Friml tried adapting his work to film, but with little success...
...Owen, 85, veteran character actor who played stuffy English aristocrats in scores of films and stage plays; after a series of strokes; in Boise, Idaho. The son of an English brick maker, Owen came to the U.S. in the mid-1920s, and by 1929 had starred in his first Hollywood movie. In addition to his usual roles as upper-crusty Englishmen, he appeared as Sherlock Holmes in A Study in Scarlet (1933), a film for which he did his own screenplay, as Ebenezer Scrooge in A Christmas Carol (1938); and as the scheming politician in Affairs of State...
...Classics Illustrated school of statesman autobiography, that "I am a part of all that I have met" syndrome whereby the man of action records no inner feelings which do not readily follow the logic of the events in which he is partaking. In accordance with this and with the Hollywood approach to everything in general. Foreman's screen adaptation doss not tap any deep springs of character or political behavior. What we get instead is a robust action flick far above the usual cut, interspersed with the documentary machinery of early rotogravure photographs on mahogany bureaus, newsreel clips...
Until "Celluloid Heroes." It has none of the Davies whimsy or wit; it is the climax and statement of Everybody's in Show Biz, "I wish my life was a non-stop Hollywood movie show." Ray Davies returned to Muswell Hill, working class hero (more legitimate than Lennon could've imagined) wasting the worriless, painless celluloid life, "Because celluloid heroes never feel any pain-And celluloid heroes never really...