Word: hollywoodized
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Dates: during 1970-1979
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Neither Got Tired. Once established as a light versifier, he joined the staff of The New Yorker, worked in Hollywood and collaborated with S.J. Perelman on the 1943 Broadway hit One Touch of Venus. The verse came out by the volume. He once remarked: "I often wonder whether I will get tired of writing them before the public gets tired of reading them, or whether it will happen the other way." He never tired of writing, and his public never tired of reading...
...canary, the grace of a swallow and the valor of an eagle." Equally at home in operettas and Shakespearean tragedies, the versatile baritone counted A Doll's House, Billy Budd, Rose-Marie and Affair of Honor among his numerous stage credits. King also starred in several Hollywood films and occasionally appeared on television. He was last seen on Broadway as the host of a transvestite ball in the 1969 production of A Patriot...
...Lust For Life (shot off TV via video tape and transferred to film), represents the Nixon-Paramount form of exploitation within Available Light. Speaking to the point of images questioned, Anthony Quian (Gauguin!) answers Kirk Douglas (Van Gogh), "I paint it flat, 'cause I see it that way," the Hollywood realist-humanist rationale for manipulation. For the more conscious elements of image-makers, the rationale is of course more problematic. "I don't know how to see you," Tom says to Amy, manipulating...
...Australia nine years ago. "Trucks stopped on highways to let schoolgirls cross the road. The groceries didn't keep paper bags, so you had to bring your own." There were few Americans in Sydney in those days, he says, "but it was very pro-American. Australians had Hollywood visions of America as a land of big cars, big houses and beautiful people. The American accent had status here." In those days, Stone recalls, "Australians would ask in surprise, 'Why would an American come here?' " They no longer need ask. "The headlines have done it: the death...
...second playlet Matthau is a case of acute satyriasis billed as Jesse Kiplinger, Famous Hollywood Producer. When his New York schedule frees him from 2 to 4 p.m., Jesse books overcoy Muriel (Barbara Harris). He had stolen her maidenhood 17 years earlier in suburbia; now he wants to return to the crime, if not the scene. Acting under an assumed mane, the red-wigged Matthau is a Narcissus whose self-love is contagious. But Muriel is immune until Jesse discovers the secret: big names. Dropping them like rose petals, he strews the path to the bedroom...Frank Sinatra...Paul Newman...