Word: max
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Dates: during 1970-1979
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What seems to concern the French as much as the spread of the American scent is the expansion of American ownership of perfume houses. Coty, for instance, is owned by the Pfizer pharmaceutical firm, Pierre Balmain by Revlon, and Jean d'Albret by Max Factor. Globally, sales of U.S.-owned perfume firms exceeded $1 billion last year, compared with $737 million for the French. Girding themselves against further U.S. competition, many older French perfume houses have sought mergers with larger European corporations, and a long moribund national perfume-promoting organization called Prestige has been revived. Says Bernard Lanvin, head...
Dachau: 1936. The sun is hellish. Two men in prison garb stand in front of an electrified fence. Max (Richard Gere) and Horst (David Dukes) must carry heavy rocks from one side of the prison yard to the other, drop them in a pile and then carry them back. This task of inspired idiocy is designed not only to break their bodies but to crush their minds and spirits. Their crime: being homosexuals...
Bent does not begin in the death camp, but on a hung-over morning after a dissolute evening of booze, cocaine and sadomasochistic pastimes. The apartment of Max and his dancer-lover Rudy (David Marshall Grant) is broken in on by Storm Troopers. The two flee but are subsequently captured. The Nazi goons begin beating Rudy viciously and order Max to do the same. He begins in utter dismay, recognizes what he has been degraded to, and in an orgy of self-loathing deals his lover the final fatal blow. To amuse themselves further, the guards then order Max...
Also witnesses to the tragedy were three American Senators-Democrats James Sasser of Tennessee and Max Baucus of Montana and Republican John Danforth of Missouri-who last week became the first U.S. officials to visit Phnom-Penh since the fall of the Lon Nol government in 1975. Cambodian officials reluctantly admitted to the Senators that ''people are going hungry...
...script's failings. Though Huyck cuts frantically among his stories, he tuckers out the audience without ever accelerating the film. The elaborate finale, involving a chaotic end-of-term school play, does not achieve its intended purpose of ty ing all the plot lines into a bittersweet cli max. What is missing is Lucas' fluent visual language. In cinematic terms, French Postcards sadly proves to be not so much American Graffiti as fractured Franglais. Rich