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...Garbage. She also has a career itinerary in mind. From the beginning, Hutton has wanted to be an actress. Some of her contemporaries -Cybill Shepherd, Jennifer O'Neill, Ali MacGraw-have gone to Hollywood. Ironically, Hutton began a film career before any of them. Starting with Paper Lion in 1968, she went on to make three other mediocre films. But her career fizzled when she turned down other offers ("Some garbage you just can't eat") and got a reputation for being difficult. She also got depressed about her future. Often she is compared...

Author: /time Magazine | Title: Modern Living: Making Magic with a Funny Face | 9/17/1973 | See Source »

Discouragement or no. Hutton is determined to transfer that special quality she has before still cameras to the movies. Reason: "Modeling is psychological lemonade compared with acting. When you make an emotion that others see and recognize, then you are flying." She will have a chance to "fly" again. Following the Revson contract, she immediately got two movie offers. She has already accepted-and begun shooting-one of them: Paramount's The Gambler, in which she is directed by Karel Reisz. James Caan costars...

Author: /time Magazine | Title: Modern Living: Making Magic with a Funny Face | 9/17/1973 | See Source »

...time of life when most models begin to think of marrying a rich man and retiring to a Park Avenue duplex, Hutton is just beginning to hit her stride. "I have started coming together," she says. "I'm older, smarter, more comfortable with what...

Author: /time Magazine | Title: Modern Living: Making Magic with a Funny Face | 9/17/1973 | See Source »

Directed by BRIAN G. HUTTON...

Author: /time Magazine | Title: Cinema: Gaslight Shadows | 9/17/1973 | See Source »

...shadow that really lies across Taylor, of course, is that of Gaslight, that old movie chiller in which a woman prone to nervous disorders believes herself to be going mad, both despite and because of the fawning ministrations of her husband and a friend. Director Hutton incorporates most of the clichés of the Gaslight tradition, including squeaking stairs, hysterical phone calls and many looks of lingering menace. Screenwriter Williamson's script, adapted from the Broadway play by Lucille Fletcher (who wrote another classic of the genre, Sorry, Wrong Number, a few decades back), retains all the trappings...

Author: /time Magazine | Title: Cinema: Gaslight Shadows | 9/17/1973 | See Source »

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