Word: tinseltown
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Dates: during 1980-1989
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...angst and male brinkmanship set in the Florida Keys. Ninety-Two was nominated for a National Book Award, and McGuane became, in the words of ^ Saul Bellow, "a kind of language star." Critics compared the 34-year-old author to Faulkner, Hemingway, Chekov and Camus. The big time -- and Tinseltown -- beckoned. McGuane became a celluloid hotshot, penning scripts for Rancho Deluxe and Tom Horn among other movies. In exchange for writing 1976's The Missouri Breaks, which starred Marlon Brando and Jack Nicholson, he was given the chance to direct the screen version of Ninety...
...even though the conclusion synthesizes the two styles incompletely, leaving the moviegoer wondering if something important was inadvertently left on the cutting room floor, Baker Boys still fits snugly into the escapist tradition of Tinseltown. The artistic commentary and other "Deep Inner Meanings" are introduced far too late to be developed well enough to tug at the viewer's mind...
...environmental movement enlists a passel of Tinseltown do-gooders to spread the ecological word through movies, TV, songs and newsworthy glamour...
...passengers have paid $25 each to pile into a 1969 Cadillac hearse outside Hollywood's Chinese Theater and begin a 2 1/2-hour excursion into "the deathstyles of the rich and famous." As the brochure promises, Grave Line "takes you back through time to the tawdry, twisted, titillating tales of Tinseltown like no other tour service dares! You'll see Hollywood's Babylon at its most unflattering angle! The sizzling scandals, jilted romances, real murder scenes, hottest suicide spots, hospitals of horizontal dismissals and the churches of famous funerals...
With its new Pavilion for Japanese Art, which opens to the public this week, the Los Angeles County Museum of Art (LACMA) has risen from architectural hodgepodge to full-blast cacophony. Where but in Tinseltown could you see such an overlay of styles? First, the flaccid institutional moderne of the original buildings designed by William Pereira in the early '60s. Then the deco-ish hulk of stripes and glass blocks shoved in front of it by Hardy Holzman Pfeiffer in 1986. And now the only major public building by America's maestro of post-Wrightian, off-the-wall kitsch, Bruce...