Word: hollywoodizing
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Dates: during 1980-1989
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...decision to change his name merely serves as the lead-in for a one liner: "In Hollywood, people change their names as often as they change wives," his manager quips. Well, hey, budumbum...
...surge but a blip. Ollie's popularity, like that of his President, was not built of "issues." Critic David Denby, in a grumpy review of "Ollie North, the Movie" for the New Republic, theorizes that Ollie's wild popularity is attributable to his perfect -- i.e., all-American but ambiguous -- Hollywood face. Fine, grant the premise. But if you do, you are confirming that what we are dealing with is not a political but a cultural, perhaps an anthropological phenomenon. Those who think Olliemania signifies a nation rising to Mussolini (or Nathan Hale) are apt to see their paranoia (or exaltation...
...Hollywood, ever cautious, has yet to make an AIDS film, although The Normal Heart may soon be produced by Barbra Streisand. Nor have rock musicians, trapped in machismo, done much to raise money and consciousnesses. In pop music, that is mostly women's work. And women, like Madonna, are doing splendidly. Dionne Warwick's megahit single That's What Friends Are For raised more than $1 million for AMFAR. Cyndi Lauper's royalties from Boy Blue, about a friend who died from the disease, will go to New York City AIDS research and patient care. Says Elizabeth Taylor, a ferocious...
...Hollywood can't stand to think much about AIDS either. The disease's two most celebrated victims, Liberace and Rock Hudson, may have worked there, and the movie industry may have nearly as high a concentration of gays as New York City. But the town has not been devastated by AIDS. Says a writer: "In the top echelons of Hollywood, people are always looking over their shoulder. Caution leads to sexual sobriety, and that could save their lives...
...just $13 million, Executive Producer Jon Davison (Airplane!) has put together a sci-fi fantasy with sleek, high-powered drive. And Paul Verhoeven, the Dutch director (Soldier of Orange) making his Hollywood debut, has polished the look of the film until it is seamless and pretty near soulless. Hubcaps slice off a speeding car like saw-toothed Frisbees, and gruesome death is just another way of saying "That's life." No wonder the film was almost rated X for violence; it is crazy in love with the imagination of disaster. It wants to caress the special effect...