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...grateful to Professor Thomas Pettigrew and Assistant Professor Shelley E. Taylor for drawing my attention to research on All In The Family and for sharing their views on the Lampoon material with...

Author: By Archie C. Epps iii, | Title: A Small Step Forward | 5/16/1977 | See Source »

Detroit News Reporter Shelley Eichenhorn interviewed for TIME the wives of three middle-to high-level Mafiosi. Her report...

Author: /time Magazine | Title: The Nation: The Godmothers | 5/16/1977 | See Source »

...psyche without one blink of the eye, using the country music world of Nashville as his chosen microcosm. Lily Tomlin made a giant leap towards her current cover-story stardom in the role of the gospel singer who staves off Keith Carradine's rakish advances. Both Geraldine Chaplin and Shelley Duvall are wasted in limiting characters that flirt with the stereotypical throughout the film; in any case, it is not the acting that makes Nashville, but rather Altman's perfection of the difficult slice-of-life narrative structure, The gratuitous conclusion turned this stomach during the initial screening...

Author: NO WRITER ATTRIBUTED | Title: FILM | 5/12/1977 | See Source »

Early in the film, Altman establishes a relationship between two physiotherapists working at a Palm Springs spa for the aged. Millie (Shelley Duvall) is a willing prisoner of the consumer culture. She thinks that if she faithfully makes all the recipes in the ladies' magazines and accepts their hints on home decoration, goodness and popularity will follow her all the days of her life. Indeed, wish being father to the deed, she is convinced that she is well liked and is entirely oblivious to the fact that none of her acquaintances can stand her. Except, that is, Pinky Rose...

Author: /time Magazine | Title: Cinema: Dreamscape | 5/2/1977 | See Source »

...subtle features of Welcome distinguish it from its acclaimed forerunner. Rudolph's script is very conscious of the need to deal with its characters on their own terms, without any touch of caricature. A few of Tewksberry's characters bordered on becoming stereotypes; Chaplin's featherweight BBC journalist and Shelley Duvall's L.A. Joan are cases in point. Rudolph skirted this chronic problem by allowing his cast considerable freedom to exercise their improvisational skills. While he did bring a finished script to the filming phase of the production, Rudolph still placed a premium on preserving a certain force of spontaneity...

Author: By Joe Contreras, | Title: Grown-Up Wasteland | 4/19/1977 | See Source »

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