Word: onscreen
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Dates: during 1970-1979
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...thriller The Conversation, he offered the most sophisticated indictment of Watergate-era politics yet to appear onscreen. Given his talent for fusing ideas with the diverse demands of big-budget entertainment, Coppola was the only real candidate to make the definitive film about Viet Nam. Apocalypse Now promised to go beyond the narrow scope of Coming Home, beyond the wrenching drama of The Deer Hunter. These promises, though broken, can still be seen in the film. Like other legendary movie mishaps, from D.W. Griffith's Intolerance to Bernardo Bertolucci's 1900, Apocalypse Now is haunted by the ghost...
...Allen lives by his own precepts. Says Brickman: "Woody is scrupulously honest and ethical in the dog-eat-dog business of entertainment. He is a good example, because he has a high moral sense." That includes playing the not always grateful part of the only conscious moralist in Manhattan. Onscreen, Murphy accuses him of playing God (Woody's reply: "I've got to model myself after someone.") Offscreen, Murphy, who is a close friend, says, "Woody could have made a safer picture, like Annie Hall. This film is a lot tougher, harder-edged. And it was a bold step...
...outlet for a venturesome, restless but essentially very moral spirit. She has, we see, merely been waiting for something more rewarding to occupy her energies and her realistic, feisty if untutored mind. The character of Reuben, the organizer, represents a triumph of sorts. He is the first accurate representation onscreen of a type that has proved to be dramatically elusive: the New York Jewish intellectual-activist. Such a person is usually the odd man out, an exotic everywhere in America beyond his native streets. Yet frequently he is capable of winning out over prejudice and suspicion with his quick...
...hard to make Strip vulnerable and compassionate: watching him, one can imagine how the film might have dealt seriously with the issues it raises about men and women. Travolta alone, of course, cannot save the movie, but it is reassuring to know that there is at least one professional onscreen...
Just as his welcome was wearing out in Los Angeles, Mankiewicz was saved by the arrival of another brilliant talker, Orson Welles. The young director suggested a collaboration. The result, a thinly disguised biography of Press Lord William Randolph Hearst, was Citizen Kane. Even before the classic flickered onscreen, Welles and Mank were disputing the writing credits; who contributed what remains a matter of acrimonious debate. After exhaustive research, Meryman convincingly concludes that though the script was a cooperative venture, the controlling interest belongs to Mankiewicz...