Word: keaton
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Dates: during 1980-1989
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Been a long twilight for the good working-class people of Hadleyville, Pa. Detroit closed the car factory, and life is desperation on the dole. For bad times, big gambles: send slick-shaggy Hunt Stevenson (Michael Keaton) to Tokyo so he can persuade a thriving Japanese automaker to establish a plant in his hometown. Then, when the do-it-our-way executives of Assan Motors demand that their American employees work harder for less money, have Hunt convince his pals, speciously, that there is a pot of gold at the end of the assembly line. Poor, distraught workers, when they...
...sentiment. Frank Capra was a master at building social comedy to the apex of hysteria, then pulling a happy-ending miracle out of his hat. Ron Howard, even after Splash and Cocoon, ain't these guys, yet. When he lets his film relax into hip facetiousness, and when Keaton parades his elfin jock swagger, Gung Ho is agreeable. But its relentless stereotyping of the Japanese provokes winces and worse. Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker. Perhaps the brand of canny moral...
...eagle-eyed student can detect flairs of John Hughes' best absurdist work, a soupcon of Risky Business's self-knowing psychological slant on civilization and its discontents, and a brief but illuminating pillaging of Woody Allen's treasure trove of neuroses (cf: post-tennis scene with Diane Keaton on her terrace in Annie Hall...
...daughter Lizie, 18, herself a fledgling pop singer, helped him with his American Scene piece last February on the Grateful Dead. Says Skow, 53: "I am now one of the world's oldest Dead Heads." His TIME cover subjects include Model Cheryl Tiegs, Singer Linda Ronstadt and Actresses Diane Keaton and Meryl Streep. Skow dined with Madonna and her band at Chez Helene in New Orleans and discovered "that we both liked Judy Holliday and soft-shell crabs...
...this 1980 comedy by South African Writer-Director-Producer-Actor -Cinematographer-Editor Jamie Uys. The film's pleasures are simple and obvious: an original plot, lots of slapstick and a lead performance by the Bushman N!xau, who registers every absurdity with the aplomb of an aboriginal Buster Keaton. There is a tinge of paternalism in Uys' attitude toward both the Bushman and the bumbling rebels, but he seems no racist; he tars all his characters, black and white, with the same broad satirical brush. With very little exertion, the spectator can convince himself he is laughing not only...