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Word: screenplays (lookup in dictionary) (lookup stats)
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...barely acknowledged by the costume designer. Bisset herself gives a bold yet detailed performance, wariness creeping into her observed glance, frustration, anger and love expressively clogging her voice. Unfortunately, Bisset's creation, the character of Liz Hamilton, novelist, stands out from the otherwise murky mess created by Gerald Ayres' screenplay. Unintentionally, despite the laughs, Rich and Famous becomes a tragedy of a fascinating woman with neither a friend nor a lover worthy...

Author: By A.a. Brown, | Title: Not the Perfect Friendship | 10/16/1981 | See Source »

...AYRES' SCREENPLAY bares primary responsibility for Merry's monstrosity. Liz's first novel met with critical raves; she now suffers from severe writer's block on her second. Meanwhile, Merry has compiled the histories of her famous Malibu neighbors, who came to her for tuna and consolation. She changes their names and calls it a novel. She then emotionally blackmails Bisset into bringing this litter-box lining to her prestigious publisher. Not merely a supportive friend, but a good neighbor; that's Merry Noel Blake. The film seems unaware of just how appalling Merry's behavior is; it certainly doesn...

Author: By A.a. Brown, | Title: Not the Perfect Friendship | 10/16/1981 | See Source »

...Screenplay by Gerald Ayres...

Author: /time Magazine | Title: Cinema: Star Turns on a Slippery Road | 10/12/1981 | See Source »

Charlie Peters' screenplay is to be admired for its creativity, yet at the same time scrutinized; for the script's inability to avoid the obvious is perhaps the movie's greatest fault--predictability. Also it often seems that Peters' funniest work lies outside the film's mainstream, almost like comic sidebars...

Author: By Michael Bass, | Title: Having My Baby | 10/8/1981 | See Source »

...challenge for the scriptwriter came in maintaining the mood and contrasts of the Fowles book without clumsily injecting a modern narrator. The choice of Pinter was well-made, for he transforms the book-within-a-book into a film-within-a-film with a minimum of messiness. His screenplay respects the intent of the original novel, whose 20th-century structure of author's conceits and devices framed a haunting story of 19th-century romance and passion. By telling the Victorian story, then weaving a parallel story around the romance of the actors making the film. Pinter achieves something...

Author: NO WRITER ATTRIBUTED | Title: Time Lapse | 10/5/1981 | See Source »

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