Word: romero
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...thunk it? A horror movie with brains and guts. That is, as it happens, the theme of George A. Romero's Monkey Shines: a battle of intellect vs. instinct, the moral vs. the feral, Allan man vs. Ella monkey. Ella learns to know Allan, through a kind of transspecies ESP, and to love him, with a frightening intensity. He is seized with visions, from Ella's point of view, of the creature's nocturnal rambles as she acts out his jealousy and frustration in the most violent form; and Romero films the images as if through a late-night monkey...
...some quick money. Next, Puerto Rican-born Raul Julia, one of the few Hispanics to work regularly and rewardingly on stage and screen, stars with Sonia Braga (Brazil) and Richard Dreyfuss (Brooklyn) in Moon over Parador, a satire about South America. Then Julia will play a Salvadoran archbishop in Romero. And Christmas brings The Old Gringo, from the Carlos Fuentes novel, with Jane Fonda and L.A. Law's Jimmy Smits. Fonda, who calls herself a "premature Latinian," spent eight years preparing the drama, set on "this scar of a border we share...
...almost better. Compared with Hollywood's caricaturing of other minorities, the industry's treatment of Hispanics was benign. In the silent era of the Latin lover, actors named Ricardo Cortez, Antonio Moreno and Ramon Novarro all wooed Garbo on screen. In the '30s and '40s, Hollywood called on Cesar Romero, Gilbert Roland or Ricardo Montalban for Continental elegance and rewarded them with careers as durable as Corinthian leather. Even those two camp goddesses of the '40s, Carmen Miranda and Maria Montez, did not wallow in the spitfire stereotype so much as they exploded it, with wit and pizazz...
...Angeles in the '70s and early '80s, noble if garish campesinos brandishing their fists from the concrete walls of storm drains. In fact, some remarkably interesting artists were involved with the Chicano-mural movement. Among them were "Los Four" in Los Angeles: Carlos Almaraz, Gilbert Lujan, Frank Romero and Beto de la Rocha. But to suppose that this was the main form of Hispanic expression is rather like imagining that Judy Chicago's The Dinner Party is the chief work of art produced by an American woman...
With the judicial odds favoring D'Aubuisson, why did Duarte choose this time to evoke the ghost of Arnulfo Romero? The U.S. had long ago supplied all the essential details to El Salvador, including the gist of Garay's testimony, the whereabouts of Saravia, and D'Aubuisson's alleged complicity. "We've known that almost from Day 1," said a Reagan Administration source. Duarte, he added, "is playing politics. He's had this in his back pocket for a long time...