The handsome younger brother of Shirley Mac Laine was all over his films, not just starring (Mc Cabe and Mrs.Miller), but writing (Shampoo), producing (Bonnie and Clyde) and casting. And the way we made it was very much like the way the Americans were in Vietnam.So in 1978, it was no surprise he decided to try out his directing chops, co-directing with Buck Henry (screenwriter of The Graduate) to direct the fantasy comedy Heaven Can Wait, which made Beatty the first person since Orson Welles on Citizen Kane (1941) to earn Oscar nominations as producer, director, writer and lead actor. We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little we went insane.” (A) No film is more linked to its “making of” story than Francis Ford Coppola’s Apocalypse Now.
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But for a close relationship that can last us through all the years of our life, no doll can take the place of aces back to back.” This is the advice given by wiseguy Sky Masterson (Marlon Brando) to his crap-game colleague Nathan Detroit (Frank Sinatra) in an early restaurant scene from Guys and Dolls, a tale of crooks, cons and courtship, all emanating from the bustling streets of Times Square.
I loved what they created, and I thought something would happen to me, too. Continue reading “The companionship of a doll is a pleasant thing, even for a period of time running into months.
It reaches in and opens you wide, and you stay that way. I came to Paris to study and to paint because Utrillo did, and Lautrec did, and Roualt did. Standing in for Paul Heinreid’s Victor Lazlo in this case is Henri Baurel (Georges Guetary), who completes the love triangle of An American in Paris as both Jerry’s good friend and Lise’s fiance.
Despite being preoccupied with a gambling addiction, Detroit genuinely loves his girlfriend, Adelaide (Vivian Blaine), and argues that women are a necessity.
Masterson, on the other hand, contests that women “are something to have around only when they come in handy, like cough drops.” When Masterson finally asserts that “all dolls are the same” and easily wooable, Detroit pounces on the chance to win some much-needed dough to set up his latest crap shoot.
He bets Masterson that he won’t be able to get prim-and-proper missionary Sarah Brown (Jean Simmons) to go with him on an upcoming trip to Havana.
Continue reading For years, rarely was an actor so involved with his projects quite like Warren Beatty.
Maybe that’s enough for some, but it isn’t for me anymore because the more beautiful everything is, the more it will hurt without you.” Such is the predicament facing Jerry Mulligan, the titular American in Paris, an ex-G. Their relationship is reminiscent of Bergman and Bogie’s in Casablanca — two lovers who fall in love in Paris and share a musical standard as their love song, yet who also can not be together because outside factors prohibit it.
Jerry (Gene Kelly) has come to love the city for its culture, but now only sees it as a curse, thanks to a broken heart over a Frenchwoman, Lise Bouvier (Leslie Caron).
(A) More importantly, it sets up the film’s central thematic debate — whether it’s best to be a player or to settle down with true love.
Masterson and Detroit represent two opposite viewpoints.