Word: micki
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BORN. To Amy Irving, 31, actress of stage (Heartbreak House), screen (Micki & Maude) and TV (The Far Pavilions), and Steven Spielberg, 37, celluloid superczar who has two new productions (The Goonies, Back to the Future) in this summer's crop of films: the unmarried couple's first child, a son; in Santa Monica, Calif. Name: Max Samuel. Weight...
...recipients, with their House affiliations and fields of concentration, are Lisa I. Backus, Lowell, Psychology and Social Relations: Nancy L. Boris, Quincy, Sociology: Micki Chen, Leverett, History and Science. Carole I. Chervin, Lowell, Sociology; Mary D. Garrison, Dunster. History and Literature; Vivian S. Lee, Currier, Biochemical Sciences; Nina A. Mendelson, Quincy, Economics; Deborah F. Minehart, Leverett, Mathematics: Anne E. Monius, Dunster, Comparative Study of Religion; Tracy L. Monroe, Cabot, English and American Literature and Language; Linda J. Runyon, Winthrop, Classics: Rena J. Zieve, Dunster, Biology...
...Moore begins dating Maude (remember, this is California; first names only), a beautiful cellist played by Amy Irving whom he meets while doing a TV assignment. She quickly gets pregnant. Rob hearing future echoes of Rob, Jr., resolves to divorce Micki and marry Maude. Just as Rob is about to break the news. Micki reveals that she's pregnant and has decided to have the kid. Unable to divorce Micki (he thinks the strain will kill her) and fearful of breaking his engagement with Maude (he thinks her father, a professional wrestler, will kill him). Rob goes through with both...
Compare this film with the equally funny Beverly Hills Cop, which is little more than a two hour long Eddie Murphy show. Even though the characters in that film are doggedly two-dimensional, one emerges from that film feeling more upbeat than after Micki and Maude. Two-dimensional characters beat three-dimensional human beings with one-dimensional minds...
...MICKI AND Maude cannot escape the Edwardsian aura of mechanical humor, though the actors manage to emerge with more of their humanity intact than normal for one of Edwards's movies. Part of the reason is that an obsession for fatherhood is a far more complicated affair than an obsession for sex, chocolate, or even motherhood. Another good chunk of the credit goes to the three principals, all of whom appear friendly and accessible on the screen. I would even have given some of the credit to Edwards had I not stuck around to see the movie's credits...