Word: nymphomaniacs
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Dates: during 1970-1979
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...hard to see how two hours of viewing Diane Keaton as a nymphomaniac schoolteacher sets Looking for Mr. Goodbar apart from umpteen other films viewing women as prostitutes. In addition, if Diane's willingness to be photographed naked-"like a piece of meat"-falls under your writer's definition of modesty, what would he consider immodest? I guess her "la-de-dahs" cover a multitude of sins...
...network Mary Hartman, Mary Hartman, and one only wishes that it were. Susan Harris, Soap's creator, producer and writer, centers the action on two related Connecticut families, the rich Tates and working-class Campbells, whose flaky members collectively include philandering and impotent husbands, bored and batty housewives, nymphomaniac children, a senile grandfather-and so on. Most of these types have counterparts in Mary Hartman's Fernwood, Ohio, but Soap's characters are flimsy replicas of the originals...
...Sleep. Let's get this straight: it's the nymphomaniac younger sister, played in this film version by Martha Vickers, who finally turns out to have murdered the missing Irishman and to have set off this story's complex web of blackmail and murder. That's the answer to the question, asked whenever this film is brought up, of who comes out as the culprit in the end. At least that's the answer in the book; whether it actually carried over into this screenplay is not at all clear. One of those great rumors has it that Faulkner...
...song lyrics steal the show. Every night at the Next Move culminates in a grand rock opera, based upon three elements: one good, one bad, and one indifferent. The Pope, snow, and (predictably) sex were thrown out last week, and what ensued was this story about a nymphomaniac with hots (snow?) for the Pope. The nymph belts, from the top of her head and the bottom of her larynx...
Barry dispels several myths about Sand and these relationships. While earlier biographers and critics claimed that she was a frigid nymphomaniac, always seeking and never finding physical satisfaction, except perhaps in her long-term, probably lesbian affair with Marie Dorval, Barry uses Sand's letters and journal entries to show this was far from the case. Nor, Barry proves, was Sand neurotically seeking to be the "male" in her heterosexual relationships. Some of her lovers--including consumptive Chopin--were "weak", younger and easily dominated. But Sand was also capable of being pathetically submissive, promising one brutal lover, on the verge...