Word: showbiz
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...became a specialist in both two movie forms: epic and the intimate. Nashville, a Doomsday kaleidoscope set to country music, splashed the whole South with his wily cynicism; Buffalo Bill and the Indians, or Sitting Bull's History Lesson said that American history was a lie dressed up in showbiz frills; and A Wedding, his black spray-paint on a four-tier nuptial cake, contained 48 characters, for no better reason than that Nashville had had 24. But there was a quieter, artsier side to Altman, evident in his eerie, miniature studies of women on the verge of madness That...
...Rove). Or any reception (A Wedding), convention (H.E.A.L.T.H.), concert (Nashville), casino spree (California Split), couture opening (Ready to Wear), country weekend (Gosford Park) or old-time radio show (A Prairie Home Companion). Any social gathering, in fact, where people advance the friendly fraud of being themselves, where politics and showbiz overlap, where the action spills fro> m the stage into the audience...
...Beales had already been the subject of a 1972 New York magazine cover story by Gail Sheehy when the Maysles brothers got to them a year later. By then, Albert and David had pretty much patented the branch of documentary known as showbiz v?rit?. Showman, a profile of movie distributor Joe Levine (1963), What's Happening: The Beatles in the U.S.A. (1964), A Visit With Truman Capote (1966), Meet Marlon Brando (1966) and the Rolling Stones' Altamont debacle Gimme Shelter (1970) all demonstrated v?rit?'s affinity for performers. A form of documentary that plants a two-person film crew (camera...
...Spector and other showbiz Jews hadn't been converted to Christianity, like Saul on the road to Tarsus. Their year-end tributes simply recognized that Christmas had already made its transition from holy day to holiday. It had become fully secularized, into a time of genial sentiment and credit-card debt - none of which had any direct connection to the birth of somebody's Savior...
...revelations emerge in neat individual numbers (I Can Do That); others in fuguelike bits and pieces, linked thematically by song (Hello 12, Hello 13). Some numbers revel in the group-grope insecurities we all share (I Hope I Get It); others in brassy satire very particular to the showbiz world (Dance 10, Looks 3 - which, by the way, was called Dance 10, Looks 1when I saw the show that first time). Some of the dance-rehearsal scenes have an almost documentarylike realism; others numbers a pop-ballad sentimentality. But even the potentially soapy ex-lovers' confrontation between Zach and Cassie...