Word: loved
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Dates: during 1970-1979
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...film's offensiveness is heightened by the character of those involved. Barb, Jon and Kris have earned the love of millions of Americans through their regular appearances in the "People" sections of Time and Newsweek, as well as in more prurient publications. People Magazine has featured all of them. In one issue, Kristofferson, a former Rhodes Scholar and Army Captain, confessed that just as in the movie, the pressure of show business drove him to drugs and drink. But he says that with the help of his good woman, he has kicked it all and there will...
...Star is Born Barbra Streisand has her usual role of the nice Jewish singer (this time named Esther Hoffman, not Fanny Brice) who falls in love with a rogue. Kris Kristofferson's beard takes the place of Omar Sharif's moustache. Tony Orlando even has a small part, but this time, he did not bring Dawn or Gerald Ford with him. Kris plays John Norman Howard, a raunchy, alcoholic rock musician on the way down. Kris wants to go back to the ranch and leave the pressured world of tours, promotions and shows but with Esther's career rising...
...country picnics, the tender-funny lovemaking, the man who robs a bank with a bandage on his nose and a single bullet in his gun, Goretta raises questions about the tenuous nature of our expectations, the impossibility of accomplishment in a money-oriented world, the reasons why we love. The film is quiet and subtle, shot in flat monotones of green and brown. It is unpretentious, yet not dull, and very intelligent...
Dexter's task was equally difficult. Lulu is a walking, talking bundle of erotic radioactivity. Known in other places as Woman, Femme Fatale, the Temptress, she is a rough operatic equivalent of Don Giovanni. She consumes the men-and one lesbian-who love her, then is consumed by them and destroyed. She ends up as a streetwalker, and the final slash of the knife is delivered by none other than Jack the Ripper. Some stage directors choose to play up the trampy side of Lulu. Dexter has made her an innocent, totally unaware of the evil effect...
...This is the age of the sex revolution. There is nothing to be nervous about." She is wrong. "Oh! Calcutta!," with its literary, artistic, and socially edifying pretensions, is proof of the pudding. "Oh! Calcutta!" was originally touted as a daring effort to bridge the gap between life, love and the art that reflects them. But in trying to pass itself off as sophisticated theater, "Calcutta" does nothing more than mock its own ticketholders. At Harvard Square, a sucker is bored every minute...