Word: sharkey
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...insights into the 1970s, but rather a string of overwrought cliches. He gives us the hedonistic and self-conscious '70s, a time when people seek instant gratification and big bucks. In his movie, Jeannette (Margot Kidder) epitomizes Self-Gratification, admitting "all she wants is to feel good." Phil (Ray Sharkey) plays Big Bucks, the New York photographer gone to California to bring in big money and live in big houses, with glossy pictures of himself hung all over his mansion. The Mystic is Willie (Michael Ontkean). Mazursky, whose last movie, An Unmarried Woman, successfully analyzed an urban marriage gone awry...
Some of the movie's difficulty lies in the acting, though only Ontkean as Willie fails entirely. He portrays this rich and challenging character vapidly, as if he's not even in the movie. Sharkey comes on like gangbusters, and his boisterous Phil might be trying to wake Ontkean from his deep sleep. Sharkey has the funniest lines in the film and delivers them well...
...guys (Michael Ontkean and Ray Sharkey) meet at a Greenwich Village revival showing of Jules and Jim early in the last decade. They are impressed by it, and before long their lives imitate cinematic art. Margot Kidder turns up in Washington Square Park to play the Jeanne Moreau role in their lives, and in due course they establish their own -not ménage à trois-trilateral commission. Thereupon their lives are laid out in tedious, unedifying detail...
Mediocrity seems to be the villain of this piece, especially to young, Jewish, New York avant-garde poet Ira Streiker played by Ray Sharkey with all of the obnoxious energy of a real-life poet whose name almost rhymes with Strindberg. In three short sequences, Sharkey opens up with the abrasive, honest creativity that soured critics and the general public to Bohemian art. He sours some of his friends, too, but his attempt to fight mediocrity with boldness stands out in a film that turns the lives of three vibrant, struggling, unusual people into three mud puddles...
...depression, bloomed in the resurgence of nationalistic pride created by Hitler and his henchmen. Symbols of that pride dominate photographs illustrating actual news dispatches of the day or adorning a 1932-33 chronicle of Germany's cultural and sporting life: Boxer Max Schmeling fighting America's Jack Sharkey for the world's heavyweight title; Marlene Dietrich posing in a scene from one of her early film triumphs...