Word: lovelies
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Dates: during 1970-1979
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...Succeed in Business Without Really Trying, an early-'60s paean to the knucklehead glory of girl-watching and "getting ahead," recreates the innocence of that time with an enjoyable, if sometimes unfocused, energy. Moving through the standard '60s-musical formula of boy-meets-girl, boy-and-girl-fall-in-love, boy-and-girl-fall-out-of-love, and boy-beats-world-and-marries-girl -- all to the accompaniment of Loesser's slick score -- the Kirkland House cast manages to create a fun evening in the face of some almost overwhelming obstacles...
...that work with her brother. Playing one-on-one with him developed the ball-handling skills that have made her Harvard's most reliable and tricky dribbler. But the oldest of three sisters in a family of nine children says that summer, more than anything, made her "fall in love" with soccer...
...story in three first-person voices. In Book 1, Joe Percy, a sixtyish screenwriter and seducer of bored young Bel Air wives, speaks of his affection for Director Jill Peel. Book 2 collects the machismo sputterings of Producer Owen Oarson, who moves in as Jill's great physical love. Book 3 is written in Jill's voice-a cool meditation on her life, her men, and their inscrutable ways...
...lines of Alice Cooper's, only more so, included a routine in which he crawled out of an elephant's behind and dueled with a baseball pitching machine. Now, his brainpan made porous by drugs, Pomeroy has withdrawn to Key West, where he maniacally stalks his old love Catherine. A man with a lot less charm or interest than the author imagines, Pomeroy is given to such gestures as nailing his hand to Catherine's front door with a gun butt. He is also inclined to flights of lyrical bombast: "They were pines that dared to suggest...
When dealing with bedrock matters of story and character, Paradise Alley is an utter mess. Stallone's two co-stars are blanks on the screen; their personal metamorphoses are too sketchily written and acted to have any impact. The men's love interests (Anne Archer, Joyce Ingalls, Aimee Eccles) are all crassly conceived stereotypes; there is even a hooker with a heart of gold. Whatever credibility exists in the screenplay is soon destroyed by Stallone's direction. Paradise Alley is a cinematic minefield of bizarre transitions, cryptic anecdotes, continuity lapses and mushy dissolves. Despite Laszlo Kovacs...