Word: mercer
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Dates: during 1970-1979
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Hooray for Hollywood/ That phony super Coney Hollywood," lyricized Johnny Mercer 40 years ago in a sardonic paean to the legend: instant fame, endless sex and the money to pay for it all. Since then the illusion of celluloid glamour has turned into the tawdry reality of a Los Angeles neighborhood of 250,000 people harassed by crime and vice, mired in the flesh and drug trades and fast fading into the sunset of American cultural history. Now Hollywood is trying to stage a comeback-a drive to revive a decayed area that still attracts 3 million tourists a year...
...park bench together, Warner exclaims with surprise, "I've got an erection." Burstyn, who has been trying to seduce him all film, is pleased. "It's not mine," he insists. "Then whose is it?" taunts Bogarde, who has suddenly appeared out of nowhere. Resnais and scriptwriter David Mercer are nothing if not clever...
...Posing as a family friend who is at home in England for the first time since he was seven, Sable goes to the country estate of Lady Beatrice Harlston to steal some of her plentiful jewels. Take the goods and run was the direction given to Sable by Harry Mercer, his surly subordinate, and Brenda, his impatient moll. But Sable overstays his visit, tempted to steal not the jewels but the suspicious and susceptible heart of the Lady's daughter Julia. Fuller's original songs about the crime that may or may not be committed are so thoroughly entertaining that...
...tough Mae Westish cookie who is determined to take her revenge. When Sable introduces her to the Harlstons as a student at a finishing school near Oxford, the jealous Brenda snaps "But I'm not finished yet." Larry Schneider's gutsy characterization of Harry Mercer is not quite so well developed as Woo's, but with his hardbitten face and sly movements, Schneider fits the image of the life of crime personified...
...eyebrow to that magnificent height he alone of contemporary leading men can scale and declares his opposition to political violence on the grounds that it "reeks of spontaneity." It is the only moment in the film that one feels comes from the hearts of Director Resnais and Writer Mercer, whose distrust of the spontaneous is woven into every tedious frame of this stupefying work. Calculation is their bag, and they have calculated the life right out of a conceit that clearly was not much to begin with...