Word: snodgress
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DIED. CARRIE SNODGRESS, 57, erstwhile movie star, whose role as an unfulfilled homemaker in Diary of a Mad Housewife (1970) won her an Oscar nomination; of heart failure while awaiting a liver transplant; in Los Angeles. In 1971, she abandoned her budding career to live with rock star Neil Young, returning seven years later to smaller film and TV roles...
...literally the answer to a maiden's prayer. With Carter Crick laid waste by evil strip miners, young Megan (Sydney Penny) kneels over her martyred pooch and begs God for "a miracle" to save her mother (Carrie Snodgress), her mom's suitor (Michael Moriarty) and what is left of the settlement. Dissolve to Clint on horseback. He saves the good folks, kills the bad folks, dodges a mother-daughter rivalry for his affections and ends up in a showdown ^ with a gunslinger (John Russell) who is even gaunter than Clint. You could hibernate in Russell's cheek hollows...
...nominees for Best Actor (Melvyn Douglas in I Never Sang for My Father, Jack Nicholson in Five Easy Pieces, James Earl Jones in The Great White Hope, Ryan O'Neal in Love Story) are all hanging right in there. The potential Best Actresses are, too. They include Carrie Snodgress in Diary of a Mad Housewife, Ali MacGraw in Love Story, Jane Alexander in The Great White Hope, Sarah Miles in Ryan's Daughter and Glenda Jackson in Women in Love. Nominations in the other categories included the usual mind-boggling number of mediocrities: Airport, for instance, received...
...mood of the return to romance. There is, for example, Margot Kidder, a Love Story hater ("Two marshmallow people marching around trying to be brave") and one of the great bodies of the Western world as well as the Tomato Surprise of Quackser Fortune. Or Carrie Snodgress, unforced, radiant star of the arch, dim Diary of a Mad Housewife. Perhaps the most technically skilled of the new romanticists, she insists...
...where Jack Nicholson sits down to play the piano in Rafelson's Five Easy Pieces, a slick film about alienation which seemed to cut away to a Laszlo Kovacs Easy Rider scenic vista whenever something seemed about to happen; Alan Arkin's Yossarian in Mike Nichols' Catch-22; Carrie Snodgress's heroine and Frank Perry's paranoiac camera work in the somewhat overdrawn Diary of a Mad Housewife; Charles Bronson's headstrong investigator in Rene Clement's Rider on the Rain; the dripping decadence and provocative idea behind Performance; and the grand style of Jean-Paul Belmondo, Alain Delon...