Word: showing
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Dates: during 1970-1979
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...idea for the show, says Producer Leonard Katzman, was to imagine that Romeo and Juliet were playing just-pretend in that tomb and suddenly found themselves in Dallas. Bobby is Romeo, and his Juliet is Pamela Barnes (Victoria Principal), the daughter of a man Jock doublecrossed during his wildcatting days. Bobby brings her home to Southfork, and J.R. tries everything but cyanide to get rid of her. He is afraid that she will give Big Daddy - sorry, Jock - his first grandson and thus persuade the old man to make Bobby his heir. His tactics fail, but when Pam does become...
...strike every emotional chord known to junky movie melodrama. Even when she comes up flat, it is hard to look away. Midler does not make the mistake of begging for attention, like her cabaret colleague Liza Minnelli; she retains a sense of humor about herself. By mixing outrageous show-biz posturing with low-key self-effacement, she is a mastermind at getting the audience on her side...
...almost nothing to do with the '60s or the counterculture. The movie's true setting is the timeless never-never land of Hollywood kitsch; The Rose is a definitive catalogue of A Star Is Born clichés. The heroine battles with booze and men and show-biz tycoons, but somehow always manages to get out onstage and give a hell of a show. She has only two temperaments, childlike vulnerability and childish tempestuousness. The howler-ridden script makes little effort to tie these bromides to a plot or flesh them out with psychological insights. We are asked...
Some of the publicity material set out to puff this wretchedly inept creaking-door flick compares it to the work of Hitchcock. After the show is over, the viewer may wonder, "Which Hitchcock was that?" Instead of building toward a climax, Stranger strings together three awkward, vaguely related segments. The first concerns a baby sitter (Carol Kane) who is terrorized by phone calls from a homicidal maniac (Tony Beckley). The second, set seven years later, has the maniac loose again, menacing a woman (Colleen Dewhurst) in a bar. The third has him on the trail of the baby sitter...
...Basically, show business is politics. And politics, with its media blitz, is very much show biz. The big difference is that politics is real, very real, and that show business is a fantasy world...