Word: oscars
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Dates: during 1970-1979
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...hopping in Beverly Hills, Supersnapper Ron Galella was on their trail in a flash. "This is a paparazzo attack," said Galella. "I'm not going to make it easy," retorted Beatty, and ordered Keaton to lower her head. Keaton, who had stayed in Los Angeles after winning her Oscar, then retreated to a recording studio to make her first album. The sound? Well, gee, ah, um, golly, gosh. Keaton isn't ready to talk about that...
...Oscar Wilde played Oscar Wilde all his life. From his glittering triumphs to the depths of disgrace and adversity, he relished the role above that of any of the characters he created in fiction or for the stage. By the accounts of people who met him, Oscar Wilde's Oscar Wilde was incomparable, and no one else could ever hope to equal his performance...
...slumps up the tenement stairs, leaking sighs, an old, sick, fat woman with an elastic bandage on one leg. Can this really be Simone Signoret, the stunning actress who won a 1959 Oscar for her role as Laurence Harvey's lover in Room at the Topi? Yes. Time is a carrion-eating bird, and this is what appears left of Signoret, 57, unrecognizable except for those cat's eyes. She is cast all too convincingly as a broken-down ex-hooker who squeezes out a living in a seedy quarter of Paris by being a foster grandmother...
Madame Rosa won an Oscar last week as the best foreign film of 1977, but the honor seems slightly askew. Director Moshe Mizrahi's film is so unashamedly a vehicle for a grand old actress that the award might better have been made by Motor Trend magazine. Signoret is marvelous as the lovable old baggage. Samy Ben Youb is luminous as Momo, the 14-year-old Arab boy who sticks with Madame Rosa to the end. Claude Dauphin is gallant as the indomitable old doctor who tends Rosa, and who is himself so rickety that he must be carried...
...were too many cooks. Gilbert and Fonda took their original idea to the then untried scenarist Nancy Dowd, who has since won critical acclaim for her original screenplay of Slapshot. Over a year later, Dowd came up with a long, ultimately unusable screenplay. Next they approached Waldo Salt, an Oscar winner for Midnight Cowboy, who ended up writing the screenplay. He suggested producer Jerome Hellman. Hellman and director Hal Ashby (Bound For Glory, Shampoo) eliminated some of the rhetoric, toning down the film's original polemical style. That may well be where it lost some of its political force...