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...There just aren't that many up-front roles for actresses these days," pouts Carol Kane, echoing Hollywood's longest running complaint. At 23, though, Kane seems to be doing all right. Cast as a winsome prostitute in The Last Detail, and as a bank robber's hostage in Dog Day Afternoon, she has finally found her proper niche in Hester Street, in which she stars as a Jewish immigrant to the U.S. in 1896. Says Kane: "I'm told I have the look of a different century...

Author: /time Magazine | Title: People, Dec. 1, 1975 | 12/1/1975 | See Source »

...exactly a match made in heaven. Still, when the pair broke up shortly before the wedding day, Elton was benefit. "I tried to commit suicide. It was a very Woody Allen type suicide. I turned on the gas and left all the windows open." He has remained "wary of up-front women getting to know me." There have been very few women in the Elton entourage since...

Author: /time Magazine | Title: Elton John Rock's Captain Fantastic | 7/7/1975 | See Source »

Norman McLaren. It's commendable that Currier House has put up-front about this thing and announced that they're showing a program of this guy's films, which usually have a way of sneaking up and ambushing unsuspecting movie bills...

Author: By Richard Turner, | Title: THE SCREEN | 11/7/1974 | See Source »

...double-edged kidding and up-front aggressiveness stand in some contrast to the cool, measured and often affectless characters Nicholson has played so well on the screen. He looks, when he is not trying, like an all-night coach passenger who is just beginning to realize he has slept through his stop. But his features have great plasticity. His friend Candice Bergen speaks of his "cobra eyes." His energy level can vary with the most careful calibration. His two best roles-as Bobby Dupea, the thwarted concert pianist in Five Easy Pieces (1970) and David Staebler, the self-consumed...

Author: /time Magazine | Title: The Star with the Killer Smile | 8/12/1974 | See Source »

...bricking themselves into a 4x5 hovel with nothing but a palette, a Bible, and the sky above them. Bigger-hearted men carve out their own living communities and bring back McCabe and Mrs. Miller, or, better still, a Wild Bunch. Hardier minds document the ravages of society up-front, eschewing allegory, in an Hour of the Furnaces. Kubrick, always an ironist, maximum exploiter of minor tools and passions, stays in a London studio--and cuts himself off from whatever roots his art grew from...

Author: By Michael Sragow, | Title: Kubrick in Context | 3/16/1972 | See Source »

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