Word: hollywoodized
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Dates: during 1970-1979
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...lips are too thick and the nose is too flat, a porcine little button. For a woman who stands only 5 ft. 5 in., the bust is perhaps too heroic, while the stomach is-well -flabby. Yet somehow all the defective parts work together to make Dyan Cannon Hollywood's newest sex star. "She has the skin touch," explains Producer Mike Frankovich. "It's a vibrant sex that goes over so strongly it sets off most...
...child, five-year-old Jennifer. Born in the mid-'30s-she refuses to give her exact age -Samille Diane Friesen grew up in Seattle, the daughter of a Baptist father and a Jewish mother. After 18 months of drama courses at the University of Washington, she left for Hollywood. Eventually she tested for Producer Jerry Wald who gave her her stage name...
Less than three years later they split up in one of Hollywood's messier divorces, with Dyan charging that Grant was a weekly LSD tripper who beat her in front of the servants and tried to "remake" her. "He changed the way I wore my hair, my makeup, my speech and my clothes," she says. "If I hadn't divorced him, I'd be dead...
Dirty Harry may well be the ultimate Hollywood movie about cops and killers. Its hero, the quintessence of the cool keen-eyed loner with a badge, sets himself against the epitome of evil, a psychopathic blackmailer who loves to murder. These two types have fought it out before, but never with such violent abandon. Dirty Harry may have its flaws with logic and over-simplification, but its sheer brute force kicks aside all discrepancies as it hurtles towards the final confrontation of primitive good and evil...
...difficulty comes from the script, by Harry and R.M. Fink, which fails to disguise its Hollywood origins. More legend than plot, the story fumbles when it wanders away from its central combat. The cops speak a special kind of cinematic tough talk. Exit lines sound like clever phrases the messieurs Fink have spent weeks sweating out. The speech of a policeman's wife takes a few perfunctory swipes at social commentary, but the film's heart is elsewhere, splashing in the gore...