Word: silent
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...flapper in the 1920s, when Hollywood had hundreds of those pert girls. She made 15 silent movies in New York and Hollywood, none in the lead role. She went to Europe and starred in three films, none of which made an impression at the time. When she returned to America, ready to make her mark in talking pictures, the movie industry blackballed her. She was, she later recalled, invisible to the stars and moguls who had courted her a few years before. "It isn't that people turn their heads not to speak to you - they...
...Melanie Griffith's Lulu in Jonathan Demme's Something Wild. An adoring 1979 New Yorker profile by Kenneth Tynan (calling Brooks "the most seductive, sexual image of woman ever committed to celluloid") cemented her celebrity, and suddenly the Rochester, N.Y., recluse was up in the silent-movie Pantheon with Garbo and Lillian Gish...
...Brooks had gone to Rochester at the urging of James Card, head of the George Eastman House film division, where she busied herself in research on silent films. It was there she found a second career, writing memoir-essays on her early days. These trenchant pieces, on Chaplin and W. C. Fields, Gish and Garbo, and of course Pabst and Pandora's Box, were collected in the volume Lulu in Hollywood, and proved Brooks a stranger creature than the moguls could imagine: a beauty with a brain. The flapper could write...
...Bond here is an agent on his first big case, a rough diamond who has not yet acquired his savoir faire or taste for the double entendre. The Craig Bond might know no French at all; he's not the suave, Oxbridgian 007 of legend but the strong, silent type, almost a thug for hire, and no smoother with a sardonic quip than John Kerry. Still, he fits one description Fleming gave of his hero: "[His face was] a taciturn mask, ironical, brutal and cold...
...Another: Criterion's Ozu two-fer is a superb instance of one director revisiting his own earlier work, the way Hitchcock remade The Man Who Knew Too Much. In 1934 Ozu directed an 86-minute silent (the Japanese were late in making the transition to sound) about an aging actor who returns with his theater troupe and his current mistress to his home town, where he reunites with his former lover and their now grown son. Bittersweet misery ensues. In 1959, when Ozu's reserved style was fully formed, he remade the story as two-hour color film photographed...