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Simon's screenplay restricts the direction as well as the actions. Even the set design is bland and tiresome: the first father-daughter confrontation is filmed in an annoyingly dull light. The audience's attention is directed away from the screen and toward the repetitious soundtrack. Director Ross ignores the fact that film is a visual medium--more so than the stage on which I Ought to be in Pictures was originally performed: he seems to put his own work on a secondary level to the screenwriter's. This is not a Herbert Ross film: the opening credits...

Author: By Lewis DE Simon, | Title: The Goodbye Playwright | 5/13/1982 | See Source »

...breezy 1936 Bing Crosby picture. Steve plays a hapless sheet-music vendor who wants to live in a world "where the songs come true." Co-star Bernadette Peters, 31, Steve's oft reported main squeeze offstage, provides the love interest. With Depression-era recordings backing them on the soundtrack, the dapper duo lip-sync their way through 15 songs and six lavish production numbers. As for the dancing, says Peters: "At least I got to use my own feet...

Author: /time Magazine | Title: People: Nov. 2, 1981 | 11/2/1981 | See Source »

...little tired of fun, harmless adventure and fantasy films; suddenly every movie had to have a point. Not only did the movies have to have points, the points had to be, like, relevant--remember that word? And it was very In to have a folk-rock group provide a soundtrack with songs that had little or nothing to do with the plot but somehow all fit together because everyone agreed that war and air pollution and middle-aged guys with brief cases were bad news. Then people got bored with war and air movies with points the nobody could figure...

Author: By Charles W. Slack, | Title: Rich Little Rich Boy | 7/24/1981 | See Source »

...music that accompanies the car exhibit is a soundtrack, a collage of songs, played--the dealership never missing a trick--on a Delco car stereo speaker. "Love Me Tender." "Heartbreak Hotel." You have to love "Heartbreak Hotel," even if the man next to you is being an idiot, and poses next to the car in a mock Elvis stance that's more embarrassing than funny. It's just a great song. The guy thinks he's the life of the party. In the open back seat of the limo is a shirt and flashy fender guitar. Never played. Never worn...

Author: By Thomas Hines, | Title: The King's Last Limousine | 6/30/1981 | See Source »

Zalmie is wounded while performing in a USO show during World War One and returns home, maturing into a sort of Vito Corleone. America becomes the battleground, and Al Capone-style gang killings flash left and right, suspended in a vacuum, as "Sweet Georgia Brown" trumpets on the soundtrack. After Zalmie's wife is gunned down, he goes to his son Benny who is playing jazz with blacks, and pleads, "If you won't live my dream, at least live my life"--a characteristically melodramatic clinker that calls embarassing attention to itself...

Author: By David M. Handelman, | Title: American Popaganda | 3/18/1981 | See Source »

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