Word: rudolph
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Dates: during 1970-1979
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Millions of readers do, and they utter it with a masochistic tremolo last in fashion when lovestruck ladies knelt before candlelit glossies of Rudolph Valentino carrying a horsewhip. The cute brute of the moment is Dominic Challenger, hero of a new novel called Wicked Loving Lies that sold close to 3 million copies in the first month of publication and forms the leading edge of a new wave of mass literary entertainment. Abandoned by Hollywood as too corny and too expensive to produce, shunned by television as unsuitable for the small screen, the costume epic is taking over the bookstalls...
...visits have been the peak of the city's social season since 1910. The club explained that its ballroom was being refurbished, but Atlantans figured the real reason was that Leontyne Price, a black soprano, was to sing Donna Anna in Mozart's Don Giovanni. Met Director Rudolph Bing let it be known that if Price was not invited to the Piedmont dinner, no member of the company would attend...
...Congressman Andrew Young stepped out of the Cessna that carried him from Plains to Atlanta, only three hours after the announcement of his appointment, he was anything but ebullient. Rather, in an exclusive interview conducted in a back room of Hangar One with TIME'S Atlanta bureau chief, Rudolph S. Rauch III, he was deeply thoughtful, almost somber...
...nightmare chiller about a young girl with telekinetic powers. For a little change of pace, she shows up as a topless housekeeper and part-time hooker in Welcome to L.A. (TIME, Nov. 22), winning the broadest laughs in a hard-edged social satire directed by Newcomer Alan Rudolph. Says Robert Altman, who produced Welcome to L.A. and proceeded to star Spacek in his own, just completed Three Women: "She's remarkable, one of the top actresses I've ever worked with. Her resources are like a deep well." Says De Palma: "Sissy's a phantom...
Director-Writer Alan Rudolph, 32, is a protégé of Robert Altman. Rudolph worked on Nashville and wrote the screenplay of Buffalo Bill and the Indians; Altman is the producer of Welcome to L.A. There are pronounced traces of Altman's style here-mainly in the kaleidoscopic plot construction that is reminiscent of Nashville. Rudolph has his own voice, however, and he has found it early. He falters at times, lets his ambition slide into pretension, pampers a line of dialogue until it just arches its back and slinks away. Allowances should be made for first features...