Word: liz
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Dates: during 1980-1989
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...Bisset's now famous breasts (remember the poster for The Deep?) remain unexposed, indeed, barely acknowledged by the costume designer. Bisset herself gives a bold yet detailed performance, wariness creeping into her observed glance, frustration, anger and love expressively clogging her voice. Unfortunately, Bisset's creation, the character of Liz Hamilton, novelist, stands out from the otherwise murky mess created by Gerald Ayres' screenplay. Unintentionally, despite the laughs, Rich and Famous becomes a tragedy of a fascinating woman with neither a friend nor a lover worthy...
...bitchy figs. It's incomprehensible how or why these two women would remain friends. More importantly, Merry Noel Blake, written by Ayres and played by Bergen, could never be anyone's friend. She's a nightmarish ice princess turned monster: Godzilla released from the frozen island. Whereas Bisset inhabits Liz Hamilton, Bergen performs as Merry; she plays bubbly, then she looks sad, saddled all the while with a ludicrous attempt at a Southern accent. Her obvious Hollywood heritage actually starts to work in her favor, since Merry develops into a media icon; Bergen's artificiality and unbelievability become Merry...
Kristin Mertz, Liz Seigel and Denise Koo wrapped up the remaining singles contests in straight sets...
There are two movies going on here. In one of them, a sober and artistically respectable novelist named Liz Hamilton (Jacqueline Bisset) fights several decades of writer's block to emerge, finally, as an archetype of contemporary feminist dissatisfactions. In the other film, her best friend and worst rival, Merry Noel Blake (Candice Bergen), is a sort of magnolia-dipped Judith Krantz. She writes money-making trash and leads a life to match her art. She does not end up any happier than her pal, but she certainly has more...
...might have been one of the best portrayals of a working artist ever placed onscreen. There is also a scene in which for no special reason-except to open a closet door and let in a truly strong odor of the misogyny that lightly scents much of the film-Liz succumbs humiliatingly to a gigolo. It does not suit either o: the picture's contrasting modes, and should have been excised...