Word: ritts
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Dates: during 1980-1989
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Ignore this considerable defect, and you can take solemn pleasure in Director Martin Ritt's familiar craftsmanship. You can enjoy the strong performance by Richard Dreyfuss (as Claudia's public and private defender). You may even smile at Streisand's straining to create another movie metaphor for her own fettered Hollywood eminence. Claudia, like Yentl before her, is a smart, sexy woman whose place of respect the boys in power want to deny. Streisand, who has both power and respect, might be advised to use that leverage on a project less conventional and complacent than this very mixed Nuts...
...shopping his 1972 novel First Blood around Hollywood, the political climate was quite different. Viet Nam movies of the late '70s, like Coming Home and Apocalypse Now, portrayed the war as a largely ignoble enterprise. "The subject matter was a risk," says Morrell. Such heavy Hollywood names as Martin Ritt, Sydney Pollack, Steve McQueen and John / Frankenheimer were involved in various efforts to film the novel. It finally wound up in the hands of two little-known producers, Andrew Vajna and Mario Kassar, who hired Stallone and raised the money to make the film...
CROSS CREEK Directed by Martin Ritt Screenplay by Dalene Young
...Palais did afford increased seating for citizens of Cannes, who contribute a third of the festival's $1.3 million annual budget and reap many more millions of tourist dollars. The gentry could be generous to films from abroad, including Martin Ritt's U.S. entry Cross Creek, a dewy-eyed swamp drama starring Mary Steenburgen as Novelist Marjorie Rawlings, and Carlos Saura's dance film, Carmen. But for the four French films in competition-Jean Becker's One Deadly Summer, Patrice Chereau's The Wounded Man, Jean-Jacques Beineix's The Moon in the Gutter...
...told Jackie Gleason's Minnesota Fats, "I'm the best you've ever seen, Fats, I'm the best there is," is all speed and charm and thin-ice cockiness. Hud Bannon, the surly cowboy womanizer who is the turbulence at the center of Martin Ritt's 1963 film Hud, seems twice the size of Fast Eddie. He is a brawler with the looks of a fallen angel, and he sneers at emotion: "My mother loved me but she died." Hud is rotten. He is trying to have his father declared incompetent...