Word: nora
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Dates: during 1980-1989
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...when Taylor says, "I feel rather scared of marriage really," looking out at the audience with the eyes of a wounded doe. What the Elyot-Amanda roles call for is the sort of fond nonchalance and glancing asperity that William Powell and Myrna Loy brought to Nick and Nora Charles in The Thin Man series. What Taylor's role model was for her part is undecipherable; it comes out as some sort of compromise between Mata Hari and Lady Macbeth. Inflection, which is paramount with a Coward line, is either beneath or beyond her. On a line like "Extraordinary...
Ancient Evenings, Norman Mailer ∙ Chronicle of a Death Foretold, Gabriel Garcia Márquez Heartburn, Nora Ephron Ironweed, William Kennedy ∙ The Little Drummer Girl, John le Carré Tzili: The Story of a Life, Aharon Appelfeld
...President's Men, Redford refused to entrust Goldman with his home phone number. Then, out of jealousy for co-star Dustin Hoffman's character, he demanded that Goldman write in a love interest for him; and, in what Goldman justifiably terms a "gutless betroyal," Redford allowed Carl Bernstein and Nora Ephron to write a completely different draft behind Goldman's back. (P.S., Goldman's was not only the script that was used, but it also won the screenplay Oscar, a fact he neglects to mention.) If this is how Hollywood friends operate, imagine how enemies must...
...first novel, Nora Ephron, 41, has carried on the family tradition, going public with her personal tribulations. Anyone familiar with the author's bright, acerbic articles (Crazy Salad, Scribble Scribble) knows the tropes. As before, there is the Johnny Carson Comparative: She "was so stingy she once tried to sell a used nylon stocking to a mugger"; the Descriptive Thrust: "His coffee tastes like a very spicy old foot"; the Confessional Counterpunch: "I would imagine [my husband's] funeral . .. and how soon I could start dating...
...Rachel shuttles between Washington and Manhattan, she oscillates between hysteria and impartial reportage. But if she is contradictory as a character, she is consistent as an alter ego. Nora Ephron once imagined herself as a "wallflower at the orgy, . .. everyone else is having a marvelous time, eating, drinking, having sex in the back room, and I am standing on the side taking notes on it all." It was a premonitory passage. Here she is in 1983, everybody sleeping around like characters in a Restoration play, while she records the events with misery and wit. At times her comedy seems borrowed...