Word: vulgarizers
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...They're not vulgar or bold-acting," says one Grosse Pointer. "They are mother and grandmother types-and good ones. Take Mrs. Anthony Giacalone [wife of a top Mafia figure in Detroit's ruling family], she's a quiet, lovely lady. Why, she even contributed $20 to the March of Dimes...
...FASSBINDER fails ideologically, he redeems himself through exciting visual effects. It is easy to point out influences in this respect: he places characters in their social setting with the exactitude of Sirk, revelling in the banal and vulgar in terms of taste (flowered wallpaper and knick knacks abound in Mother K.'s apartment); he makes Brechtian use of awkward camera positioning to alienate, shooting not from within the action, but as an observer so that his audience will be responsible for creating its own realism; like Godard, he favors a fade-out to black between shots, allowing his viewer...
...Globatron, a giant conglomerate run by a terrible-tempered tyrant everyone calls "L.W."-a woman, of course. Globatron is about to spend $125 million on a new ad campaign to promote Wilmington beer. Since women are the beer drinkers in this upside-down world (beer is considered too vulgar for men), Globatron has created the Wilmington Woman, the ideal consumer. The only problem is-shades of Myra Breckinridge-that the Wilmington Woman (Linda Gray) turns out to be a transsexual. While the board of Globatron considers this staggering information, the Wilmington Woman is kidnaped by some Okies...
Pont-Aven, the setting for much of this loosely structured, deliberately vulgar French comedy, is the seacoast town where Paul Gauguin settled temporarily after abandoning his job and family in the 1880s. The hero of The Cookies is a present-day painter who also throws over a boring wife and job and moves to Pont-Aven. One major difference between the two men, however, is that Gauguin became in his rebellion a leading light of the French avantgarde. The hero of Cookies, both as a man and a painter, is largely obsessed with female buttocks. He is an artist...
HOLLYWOOD OF THE 1930s is a vast, vulgar and meretricious beauty, and Monroe Stahr, boy wonder, is at her service. Stahr's business is making pictures, transmuting the dreams of Depression-deadened America into vendable celluloid. His is an Horatio Alger story with an F. Scott Fitzgerald twist, a saga of material success rooted in romantic illusion. For a while, Stahr can have his cake and sell it too; but the crisis comes when he tries to shape his own life in the image of the movies by snatching happiness from an ill-fated love affair. For Fitzgerald, success...