Word: joans
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Dates: during 1980-1989
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...night watchman who discovered the Watergate break-in, a rebel United Mine Workers leader, a professional wrestling promoter, a retired president of a Chicago bank, an anti-FDR Black, and ex-gun moll, Ted Turner, Coleman Youn and others. They are not all nice people--the interview with Joan Crawford, conducted in 1963, is particularly damning, given the revelations of Mommie Dearest. Terkel just lets them talk, egomaniacs, saints and sinners. They only differ from a truly representative sample of the nation in that they are probably more interesting--hardly a grave flaw...
Freshman striker Joan Elliott, and sophomores Kelly Gately and Laura Mayer, who alternate between wing and wing fullback, give the Crimson excellent play across the front line...
...structure. What is meant as a species of cinema verite may too easily become as specious as old-fashioned movie-star acting. Cassavetes is a deadly serious director, but his films are best seen as rickety star vehicles. His most shining star-his Bette Davis, his Gloria Swanson, his Joan Blondell-is his wife Gena Rowlands. In Gloria, he has finally realized her strengths and her limitations, and has cranked out a passable imitation of those '30s gangster movies with brassy broads and sassy tots, a Methodical Little Miss Marked Woman...
Stripped of its Whitmanesque rhetoric, this means the fixture as before: first person singularities from the prominent (Miss U.S.A., Ted Turner, Joan Crawford, Arnold Schwarzenegger), the recognizable (Baseball Maverick Bill Veeck, Novelist Jill Robinson, Rolling Stone Publisher Jann Wenner) and the totally obscure. All of them are highly individual, all discuss some aspect of that worn shibboleth, the American Dream. As they talk, platitudes give way to testimony, and the vision becomes a document...
Harrison has absolutely no patience with the neurasthenic absorption and empty style of Joan Didion--who has been called "America's finest woman prose stylist," but whom Harrison finds "transparently ersatz," and "merely cheap." "All connections are equally meaningful and equally senseless," says Joan of Dark; her nihilism, says Harrison, amounts to amorality. Didion's not entitled to "fiddle while Watts burns," and her disconnection of the suffering soul from any political or spiritual meaning, sorely contrasts with Harrison's crusade to restore those vital, fading links...