Word: technicolored
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Dates: during 1970-1979
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...Betamax a replay of her first triumph unwinds in glorious technicolor. The camera zooms in on pink fingernails fluttering near pale skin as her face crumples with joy and disbelief. The weepy, departing queen struggles to fix the crown on her successor's head. As a recorded chorus serenades, "She's a miracle, she could be Miss America. . . the one that we ado-o-o-re," the winner grips her scepter and hurtles toward the runway at the Santa Cruz Civic Auditorium...
...sentimentality from becoming obnoxious is the conviction with which the movie has been made. Except for a chaotic and enervating final 20 minutes, this film runs on its naive energy. Director Steve Rash milks every corny moment without being brazenly manipulative, and he bathes every shot in oldtime Technicolor glamour. His best scenes actually cut to the meaning of Holly's career...
...edgy, nasty place, a theater of disaster populated by grotesques. The white paper takes on the look of Manhattan's 42nd Street in summer, bombed out by midday glare. Whores, bums, flint-faced Irish cops, frazzled black pimps, rats, crocodiles up from some imagined sewer, sirens emitting Technicolor laser blasts of sound, bulbous cars belching their exhaust smoke, an S and M homunculus encased in glittering leather with the motto VIVAN LAS CADENAS (long live chains) worked in studs on its back?this, in Steinberg's ironic eye, is the American dream street (our equivalent of the Di Chirico piazza...
...typical house is decorated with colonial furniture, plastic fruit, fluffy floral armchairs, commercial and authentic Indian crafts. The television forms the pulpit of the living room: children crowd around to absorb its technicolor wisdom. In the driveway is a small car, an old Honda Super Hawk; bicycles lie on the back lawn, dogs mope around the fear porch. Raymond Moore and his wife bake some bread in the kitchen. Mrs. Moore, looking fresh, models tight blue jeans and a printed t-shirt. A girl short-cuts through the back yard filled with dogs, wearing a "Smoke Colombian" t-shirt...
...years later Claude Monet painted a similar scene. Manet chose to depict two pretty women sitting under a sunny sky with the station creating a bland industrial backdrop. Monet omitted the smiling women, painting only the dark, smoky blue train station; and the opening shot of Julia is a technicolor replica of his ominous image--an image that is repeated frequently throughout the film. Julia is the story of Lillian Hellman (Jane Fonda) and her childhood friend (Vanessa Redgrave) whom she christens "Julia," who together lost the insular beauty of their adolescence as the Third Reich came into power...