Word: hollywoodized
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Dates: during 1970-1979
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...rumor going the rounds in Saigon was that an Air Force C-141 jet transport was U.S. bound, toting a 1,000-lb. stone elephant as Christmas greetings to Hollywood's Jill St. John from Washington's Henry Kissinger. No elephant, white or otherwise, for Jill or anyone, said Kissinger. His strategy with women, he added, is "Give them nothing−it drives them crazy." Obviously. "Henry has more depth and sensitivity and integrity than anyone I've ever met−almost," breathed Miss St. John. "But when you live 3,000 miles apart...
Each of the Hollywood oldtimers was a veteran of the bad old days when onscreen kissing was a pretty close-mouthed business and cinematic adultery seemed something like bundling. Yet they expressed somewhat disparate views of the unbuttoned mores of modern movies. "Call me a prude or a square," said Dorothy Lamour, 56, "but I'm not happy with a lot .of dirty movies. What we did was sex, but it was clean sex." As samples of this phenomenon, Dorothy cited her famous sarong, "which suggested nudity," and her love scenes "in the jungle with Ray Milland...
That was the novelist's original resolve when Hollywood first sought the movie rights to his Lolita in 1958. But one evening he dreamed that he was reading the screenplay; overnight, Nabokov came to the age of consent. An offer of $150,000 did not exactly dissuade him, and he agreed to do the script himself. James Mason was cast as obsessive old Humbert Humbert, with Sue Lyon, then 14, in the title role of the stepdaughter who seduced him. Everybody said the adaptation could not be done, and they were right. But the pallid, bowdlerized film did gross...
...Great White Hope into a good film, at least his jumbling of theatrical convention and film cliche makes it fairly easy to watch. Despite playwright Howard Sackler's screenplay, and his play's prime standing as a Kultcha classic, Ritt hasn't stooped to the traditional homage Hollywood usually pays to Broadway hit-dom. The Great White Hope is severely divided, but many of the tensions the black actors manage to convey are true. At certain points-particularly when the splendid Moses Gunn, as an anachronistic black nationalist street preacher, accosts James Earl Jones after his character's return from...
...reminded of a hilarious line once spoken seriously in a late Odets play: "Half-baked idealism is the peritonitis of the soul." Odets himself knew that he was dissipated and corrupted when he wrote that line, having lost his Depression radicalism somewhere between World War II and Hollywood. Sackler, however, tries to effect that which he never possessed; and Ritt, himself far removed from his honest work, Edge of the City and Hud, cannot cover for him. The Jewish playwright is no longer in a position to voice radical ethos convincingly. That may be the real tragedy behind The Great...