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1998-09-11
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From: owner-movies-digest@lists.xmission.com (movies-digest)
To: movies-digest@lists.xmission.com
Subject: movies-digest V2 #87
Reply-To: movies-digest
Sender: owner-movies-digest@lists.xmission.com
Errors-To: owner-movies-digest@lists.xmission.com
Precedence: bulk
movies-digest Saturday, September 12 1998 Volume 02 : Number 087
RE: [MV] Private Ryan
RE: [MV] Private Ryan
[MV] REVIEW: THE GOVERNESS
Re: [MV] Private Ryan
[MV] Reaching celebrities
RE: [MV] Private Ryan's letter
[MV] Movie News - 09/11/98
[MV] Four times mad
Re: [MV] Four times mad
[MV] 'Pretty Woman',a lovely movie
[MV] REVIEW: SLUMS OF BEVERLY HILLS
Re: [MV] 'Pretty Woman',a lovely movie
Re: [MV] 'Pretty Woman',a lovely movie
----------------------------------------------------------------------
Date: Thu, 10 Sep 1998 15:25:19 -0700
From: "Romero, Leticia" <lromero@saonet.ucla.edu>
Subject: RE: [MV] Private Ryan
I think Ken Andrews is the 3rd Coolest man in the world!!!
> -----Original Message-----
> From: Ken Andrews [SMTP:kendrew@earthlink.net]
> Sent: Thursday, September 10, 1998 3:29 PM
> To: movies@lists.xmission.com
> Subject: Re: [MV] Private Ryan
>
> I have to stick up for Private Ryan. Why? Personally, I felt that there
> has been a couple of movies that I have watched that changed my life.
> This
> was one of them.
>
> Besides the incredible scenes and the gruesome detail, there were major
> themes of loyalty, compassion and committment, along with others.
>
> What changed my life about this movie?
>
> My Grandfather fought in the Battle of the Bulge. I will never see him in
> the same light again. His sacrifice for my freedom, well, I have to
> honestly say that I had not appreciated it as much as I should have.
>
> In the past, I would have been quick to send our soldiers in to battle so
> that as "Americans" we can stand up and do what is right. The vivid
> pictures of war, will make me consider long and hard as to whether our
> young men and women should have to go into battle.
>
> This movie destroyed my romantic view of war. Did I enjoy it? Probably
> not. Did I think it was valuable? Yes. Why? Because I left the theatre
> changed. A better man.
>
> Now, let me say that I realize that not everyone romanticized war, and
> that
> not everyone needed to appreciate vets more, and that not everyone would
> be
> quick to send young men and women into war. For me this movie was life
> changing. One of the other movies that changed my perspective, my view,
> and my actions in life was Schindler's List.
>
> When I walked out of that theatre after Private Ryan, I was not the same
> person. I was a better man when I left.
>
> Ken
>
> PS. This is just how it affected me, and I realize that I am not
> everyone. I'm just me.
>
>
> [ To leave the movies mailing list, send the message "unsubscribe ]
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------------------------------
Date: Thu, 10 Sep 1998 16:45:05 -0600
From: jkrudy <jkrudy@micron.com>
Subject: RE: [MV] Private Ryan
Ken,
Thank you! I'm right there with you my friend.
JAMES K. RUDY
- -----Original Message-----
From: Ken Andrews [SMTP:kendrew@earthlink.net]
Sent: Thursday, September 10, 1998 4:29 PM
To: movies@lists.xmission.com
Subject: Re: [MV] Private Ryan
I have to stick up for Private Ryan. Why? Personally, I felt that there
has been a couple of movies that I have watched that changed my life. This
was one of them.
Besides the incredible scenes and the gruesome detail, there were major
themes of loyalty, compassion and committment, along with others.
What changed my life about this movie?
My Grandfather fought in the Battle of the Bulge. I will never see him in
the same light again. His sacrifice for my freedom, well, I have to
honestly say that I had not appreciated it as much as I should have.
In the past, I would have been quick to send our soldiers in to battle so
that as "Americans" we can stand up and do what is right. The vivid
pictures of war, will make me consider long and hard as to whether our
young men and women should have to go into battle.
This movie destroyed my romantic view of war. Did I enjoy it? Probably
not. Did I think it was valuable? Yes. Why? Because I left the theatre
changed. A better man.
Now, let me say that I realize that not everyone romanticized war, and that
not everyone needed to appreciate vets more, and that not everyone would be
quick to send young men and women into war. For me this movie was life
changing. One of the other movies that changed my perspective, my view,
and my actions in life was Schindler's List.
When I walked out of that theatre after Private Ryan, I was not the same
person. I was a better man when I left.
Ken
PS. This is just how it affected me, and I realize that I am not
everyone. I'm just me.
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------------------------------
Date: Thu, 10 Sep 1998 17:42:15 -0600 (MDT)
From: Scott Renshaw <renshaw@inconnect.com>
Subject: [MV] REVIEW: THE GOVERNESS
THE GOVERNESS
(Sony Classics)
Starring: Minnie Driver, Tom Wilkinson, Florence Hoath, Harriet Walter,
Jonathan Rhys-Meyers.
Screenplay: Sandra Goldbacher.
Producer: Sarah Curtis.
Director: Sandra Goldbacher.
MPAA Rating: R (nudity, sexual situations)
Running Time: 114 minutes.
Reviewed by Scott Renshaw.
Here's the faint praise with which I ultimately damn THE GOVERNESS:
while I was consistently interested in the film, I'm not sure I could tell
you what the point of it all was. Certainly I could outline the plot,
which centers around a young Sephardic Jewish woman named Rosina Da Silva
(Minnie Driver) in 1840s London. When her father dies suddenly, leaving a
mountain of debt, Rosina is obliged either to marry or find employment of
her own. The high-spirited girl opts for the latter course, posing as a
Gentile named Mary Blackchurch in order to work as a governess for a
Christian family called Cavendish on Scotland's Isle of Skye. There she
finds herself drawn to patriarch Charles (Tom Wilkinson), a reclusive
scientist, even as his son Henry (Jonathan Rhys-Meyers) becomes fascinated
with Rosina/Mary.
From there, however, things start to get a little murky. We know
that Rosina is a stranger in a strange land; will the central conflict be
a clash of cultures? We know her young charge Clementina (Florence Hoath)
is a trouble-maker; will the story follow their growing mutual affection?
We know that Rosina has dreams of performing on the stage; will we find
her getting lost in the real-life performance she is forced to undertake?
We know that Mrs. Cavendish (Harriet Walter) feels suffocated by her
isolated country life; will she and Rosina act as counterpoints in a study
of acceptable female roles, or bond over their shared pining for the city?
The answer to these questions and more is a resounding "sort of."
The bulk of the narrative is devoted to the developing relationship
between Charles and Rosina, a relationship hinged on a provocative irony:
though Rosina loves Charles for his ability to appreciate her mind (when
he invites her to assist in his research), he only knows her as the
fiction she has created. Yet all the rich background provided by
writer/director Sandra Goldbacher teases without adding up to enough. In
the long run, it's virtually irrelevant that Rosina is Jewish; all she
really needs is some sort of dark secret to hide from the Cavendish
family. The Rosina-as-actress angle disappears after the first act,
shortly followed by the conflict between Rosina and Clementina (dismissed
in one threatening tug of the pigtails).
Most disappointing of all is the lack of interest Goldbacher shows in
developing her secondary characters. Mrs. Cavendish, a potentially
touching portrait of repressed longing, instead becomes comic relief
described as though "she had a lemon stuck up her bottom." Even more
mysterious is young Henry, whose obsession with Rosina may be an act of
rebellion, or perhaps a fleeting adolescent crush, or perhaps some mixture
of the two. In any case, it certainly doesn't mean enough for a lingering
scene of Henry writhing naked in the surf to provide anything more than
the film's _second_ gratuitous penis shot. Driver's strong, sensual
performance as Rosina and Wilkinson's turn as the conflicted Charles do
fill in plenty of gaps, but it's tough to get caught up in a romantic
square composed of one real woman, half an identifiable man, a pale and
petulant enigma, and a stick figure wrapped in a shawl.
All the time that might have been spent sorting out their motivations
is spent instead on a metaphor so massively obvious you might trip over it
on your way out into the lobby. Charles' major scientific investigation
involves photography, particularly how to hold the transient images which
fade over several hours. Leaving aside Rosina's Forrest Gump-like
discovery of the darkroom and the concept of saline solution developing,
the entire photography angle feels like one long attempt to distinguish
between our two principal characters -- she wants to capture human faces
(i.e. she's vibrant and alive), he is interested only in inanimate
objects (i.e., he's cold and reserved). What we don't see is what this
has to do with any of the other cultural or sociological tidbits
Goldbacher drops along the way. Driver's Rosina is a compelling enough
presence that you'll want to put the pieces together, but you'll find far
more ambition than resolution. THE GOVERNESS fairly drowns in context
desperately seeking some content.
On the Renshaw scale of 0 to 10 blue Skyes: 5.
- --------------------------------------------------------------------------
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http://www.inconnect.com/~renshaw/
***
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------------------------------
Date: Thu, 10 Sep 1998 17:16:44 -0800
From: Ken Andrews <kendrew@earthlink.net>
Subject: Re: [MV] Private Ryan
Thanks everyone for your kind comments;
How affected was I by this movie? After sending my earlier post, I
remembered a letter I had written. I had never written anyone like this
before, but I did after Saving Private Ryan:
July 27, 1998
Mr. Tom Hanks
C/O PMK
955 S. Carillo Dr., Suite 200
Los Angeles, CA 90048
Dear Mr. Hanks;
I have never written a letter like this before, and probably will not in
the future. I=92m not sure if you will ever see this letter due to the f=
act
that I am sure you must receive volumes of mail from =93crazed=94 fans. =
I am
not really a fan. I=92m a husband and father, first, and then a pastor. =
But
whether you read this letter or not, there are a couple of things I must
share with you.
First, I saw Saving Private Ryan today. I don=92t think I will ever be t=
he
same. My grandfather fought in the Battle of the Bulge, and I never
realized the devastation of war prior to your movie. I will never let
another Veteran=92s Day go by without expressing heartfelt appreciation f=
or
their sacrifice on the battlefield. I appreciate my freedom a little mor=
e
than I did this morning. Thank you!
Second, I want to tell you what a pleasure it is to see you act. My desi=
re
as a Pastor is for each person to find that one area, talent or gifting i=
n
their life that expresses what the Creator meant for them to be and do. =
It
is obvious that when you act you are a =93violin=94 in the Master=92s han=
ds. In
my life, this happens when I sing, and encourage my congregation. It is =
at
that moment that I know I am the tool of One who is greater than I. I sa=
w
that today in you.
In a film today I was changed. I am a better man than I was. There is n=
o
higher complement than this. This is why I had to write.
Sincerely,
Ken Andrews
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------------------------------
Date: Fri, 11 Sep 1998 09:22:41 -0600
From: "Gregory A. Swarthout" <greg_swarthout@autosoft.com>
Subject: [MV] Reaching celebrities
I just ran across the following URL you can use to get in touch with
celbrities via email:
http://www.celebrityemail.com/
It claims to have 18,000 listings, everyone from Leonardo DiCaprio to
Monica Lewinsky. In reality, most of those I searched for came back
with a "xxxxx does not have a public Email Address" response. What
they do in those cases is let you post a message which then gets
printed out and sent along with others semi-regularly (once a week
for hot celebs, less often for others). It's worth a try if to do
nothing more than save a stamp for those of you who have fallen
under a particular celbrities' spell.
Greg
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------------------------------
Date: Fri, 11 Sep 1998 08:32:18 -0700
From: "Romero, Leticia" <lromero@saonet.ucla.edu>
Subject: RE: [MV] Private Ryan's letter
I'm sure Steven Spielberg would appreciate a copy of this letter as well....
> -----Original Message-----
> From: Ken Andrews [SMTP:kendrew@earthlink.net]
> Sent: Thursday, September 10, 1998 6:17 PM
> To: movies@lists.xmission.com
> Subject: Re: [MV] Private Ryan
>
> Thanks everyone for your kind comments;
>
> How affected was I by this movie? After sending my earlier post, I
> remembered a letter I had written. I had never written anyone like this
> before, but I did after Saving Private Ryan:
>
>
> July 27, 1998
>
> Mr. Tom Hanks
> C/O PMK
> 955 S. Carillo Dr., Suite 200
> Los Angeles, CA 90048
>
>
> Dear Mr. Hanks;
>
> I have never written a letter like this before, and probably will not in
> the future. I'm not sure if you will ever see this letter due to the fact
> that I am sure you must receive volumes of mail from "crazed" fans. I am
> not really a fan. I'm a husband and father, first, and then a pastor.
> But
> whether you read this letter or not, there are a couple of things I must
> share with you.
>
> First, I saw Saving Private Ryan today. I don't think I will ever be the
> same. My grandfather fought in the Battle of the Bulge, and I never
> realized the devastation of war prior to your movie. I will never let
> another Veteran's Day go by without expressing heartfelt appreciation for
> their sacrifice on the battlefield. I appreciate my freedom a little more
> than I did this morning. Thank you!
>
> Second, I want to tell you what a pleasure it is to see you act. My
> desire
> as a Pastor is for each person to find that one area, talent or gifting in
> their life that expresses what the Creator meant for them to be and do.
> It
> is obvious that when you act you are a "violin" in the Master's hands. In
> my life, this happens when I sing, and encourage my congregation. It is
> at
> that moment that I know I am the tool of One who is greater than I. I saw
> that today in you.
>
> In a film today I was changed. I am a better man than I was. There is no
> higher complement than this. This is why I had to write.
>
> Sincerely,
>
> Ken Andrews
>
>
>
> [ To leave the movies mailing list, send the message "unsubscribe ]
> [ movies (without the quotes) to majordomo@xmission.com ]
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------------------------------
Date: Fri, 11 Sep 1998 13:05:53 -0600 (MDT)
From: The Reporter <gregorys@xmission.com>
Subject: [MV] Movie News - 09/11/98
"Mad Max" is revving up his motorcycle. Universal plans to
release a fourth installment of the action-adventure series
in time for a major summer release in either 2001 or 2002.
But whether Mel Gibson will return as the post-apocalyptic
gunslinger battling violent car and motorcycle gangs is
another matter, reports Variety. The star, who was paid
$15,000 for the first "Max" in 1979, now commands $20
million per picture, plus a sizable portion of the profits.
Gibson has not been approached to star in the new "Max," his
reps said.
-=> * <=-
Germany on Thursday awarded Steven Spielberg its highest
honor, the Federal Cross of Merit, for his work in
preserving the memory of the Holocaust, reports Reuters. In
an emotional ceremony, Spielberg described the prize as one
of his greatest honors and said he had been particularly
pleased to see that his 1994 film "Schindler's List" has had
a powerful impact in Germany. The director wept openly when
clarinetist Giora Feidman emerged from the 550 guests
assembled for a dinner in Spielberg's honor at the
presidential palace and played the haunting theme music to
"Schindler's List."
* Earlier in the week, Spielberg paid an emotional visit to
a Nazi concentration camp north of Berlin. The director
spent 45 minutes at the camp where about 100,000 Jews,
gypsies, gays and Nazi opponents died. Spielberg had toured
camps in Poland, but this was his first trip to one in
Germany. "I'm very moved by this, very disturbed by this,"
he said, "but very encouraged today to see so many young
people on tours, taking notes, taking it all in and
remembering it forever, which is something we always must
do."
-=> * <=-
Stanley Kubrick's "Eyes Wide Shut," starring Tom Cruise and
Nicole Kidman, will finally see the light of day on July 16,
1999 -- almost three years after the marathon production
began. Warner Bros. said the film's domestic release would
be "closely followed" by its international release. The July
16 date puts the film's debut just two weeks after the
studio's megabudget 4th of July release, "Wild, Wild West,"
starring Will Smith, Kevin Kline and Kenneth Branagh. "Eyes
Wide Shut" has been shrouded in secrecy. Kubrick's
meticulous shooting style has made the production one of the
longest in recent film history.
* In other news of Tom Cruise, he'll be online Friday from 2
to 3 p.m. EDT at www.without-limits.com to discuss his role
as co-producer of the new film "Without Limits," about the
late running-legend Steve Prefontaine. Also chatting live
(from the Toronto Film Festival) will be co-producer Paula
Wagner, writer-director Robert Towne and some of the cast,
which includes Billy Crudup and Donald Sutherland.
-=> * <=-
DIED: Russian-born actor Leonid Kinskey, who played Sascha
the bartender in "Casablanca" (and was one of the last
surviving members of that movie), Tuesday, of complications
from a stroke, in Arizona. He was 95.
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------------------------------
Date: Sat, 12 Sep 1998 11:48:46 cet
From: "greuel" <greuel@eifel-net.net>
Subject: [MV] Four times mad
>
> *** 'Mad Max' revving up again
>
> HOLLYWOOD (Variety) - "Mad Max" is revving up his motorcycle at
> Universal Pictures. The studio plans to release a fourth installment
> of the action-adventure series in time for a major summer release in
> either 2001 or 2002. But whether Mel Gibson will return as the
> post-apocalyptic gunslinger battling violent car and motorcycle gangs
> is another matter. The actor, who was paid $15,000 for the first
> "Max" in 1979, now commands $20 million per picture, plus a sizable
> portion of the profits. Gibson has not been approached to star in the
> new "Max," his representatives said. The first three pictures - "Mad
> Max," "The Road Warrior" (1981) and "Mad Max Beyond Thunderdome"
> (1985) - were shot in Australia on relatively low budgets. ###
I guess you all read this thing here someplace. Whaddaya think? After
the third one I thought that they had drained the series of all its
qualities so that there was nothing left. Maybe the next one will be a
DIsney production. I would keep Gibson, he's Max just as Weaver is
Ripley. Maybe they can reduce the budget by letting him direct or
something. While the first two MaMas are pretty devastating films -
better than all the other attempts to cash in (Escape from NY), I
must say in the wake of Tina Turner and that kindergarden there is
not much I look forward to here. We'll see.
thomas
- ---
http://greuel.notrix.de/ - abomiNation
"One must still have chaos in one
to give birth to a dancing star"
Friedrich Nietzsche
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------------------------------
Date: Sat, 12 Sep 1998 12:41:31 +0100
From: "Toni Slovacek" <tonis@dircon.co.uk>
Subject: Re: [MV] Four times mad
- -----Original Message-----
From: greuel <greuel@eifel-net.net>
To: movies@lists.xmission.com <movies@lists.xmission.com>
Date: 12 September 1998 11:23
Subject: [MV] Four times mad
>
> *** 'Mad Max' revving up again
I guess you all read this thing here someplace. Whaddaya think? After
the third one I thought that they had drained the series of all its
qualities so that there was nothing left. Maybe the next one will be a
DIsney production. I would keep Gibson, he's Max just as Weaver is
Ripley. Maybe they can reduce the budget by letting him direct or
something. While the first two MaMas are pretty devastating films -
better than all the other attempts to cash in (Escape from NY), I
must say in the wake of Tina Turner and that kindergarden there is
not much I look forward to here. We'll see.
thomas
I don't think they can or want to get Mel for this instalment - for a start
it would probably preclude further sequels - and if budget is such a
concern, my feeling is that this will be more along the lines of the rash of
B and C apocalyptic and sci-fi movies that flooded the video stores in the
mid-late 80s, many of them coincidentally starring Michael Pare or John
Stockwell <G>
If they do try to tie it in to the story (unfortunately for them VERY
strongly set in Oz), it will be will a new set of characters I think
(perhaps they'll pay for the montages from 2 and 3?)
Just a thought ...
Toni
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------------------------------
Date: Thu, 12 Sep 1996 23:02:17 +0800
From: "Yusheng" <gouys@public.hr.hl.cn>
Subject: [MV] 'Pretty Woman',a lovely movie
Anyone have seen 'Pretty woman',It's so nice. I think it's the modern
version of 'Cinderalla'.The man and the girl,they find the best thing in
each other,and changed each other forever.Could anybody tell me something
about the director and the writer of the movie? Are they famous in the US?
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------------------------------
Date: Sat, 12 Sep 1998 09:28:39 -0600 (MDT)
From: Scott Renshaw <renshaw@inconnect.com>
Subject: [MV] REVIEW: SLUMS OF BEVERLY HILLS
SLUMS OF BEVERLY HILLS
(Fox Searchlight)
Starring: Natasha Lyonne, Alan Arkin, Marisa Tomei, Kevin Corrigan.
Screenplay: Tamara Jenkins.
Producers: Michael Nozik and Stan Wlodokowski.
Director: Tamara Jenkins.
MPAA Rating: R (adult themes, nudity, sexual situations, profanity)
Running Time: 91 minutes.
Reviewed by Scott Renshaw.
Sometimes I just want to shake a film-maker who doesn't seem to
understand the strengths of her own story. Take Tamara Jenkins, for
example, the first time writer/director behind SLUMS OF BEVERLY HILLS.
Her tale centers around the Abramowitz family, a semi-dysfunctional clan
living in Southern California circa 1976. Papa Murray (Alan Arkin) is a
no-luck car salesman coping with persistent financial short-falls and
being a single parent to his three children, most problematic his only
daughter, 14-year-old Vivian (Natasha Lyonne). Vivian is having enough
trouble dealing with typical teenage problems, like her suddenly daunting
breast size, without the added stress of moving from apartment to
apartment every few months to stay one step ahead of eviction.
The mid-70s setting at first seems fairly arbitrary, a token attempt
at period color, but eventually the two main characters deepen the
resonance of the time. Murray, the 65-year-old father of three young
children, is still very much a 1950s-style father, evidenced by a
throwaway scene in which he summons a black waiter in a restaurant with a
racial slur. He defines his success as a father by his ability to provide
for his family, and makes it his goal to live in an area which will still
allow his children to go to the best schools (the "slums" of Beverly
Hills described in the title). He certainly can't be the sensitive,
worldy parent Vivian needs as she begins exploring her sexuality in a time
light years removed from Murray's adolescence. How can you discuss sex
with a dad who insists that you wear a bra with a halter top?
That relationship forms the foundation for a solid story where the
laughs could have come from simple character interaction. The two lead
performances are earnest and sympathetic, showing a strained affection
between father and daughter where communication is a challenge at best.
Lyonne in particular pulls off some difficult scenes of teenage sexual
experimentation without a hint of exploitativeness, ably assisted by Kevin
Corrigan as the next door neighbor with whom she experiments.
Why, then, must Jenkins get hyper-quirky on us by introducing
Vivian's free-spirited older cousin Rita (Marisa Tomei), a troubled,
pregnant, recovering drug addict who comes to stay with Murray's family?
There's nothing faintly interesting or real about Rita or her problems;
they're like the shenanigans of a wacky relative on a television sit-com.
Every scene with Tomei is an over-the-top distraction, turning a low-key
character study into forced farce. It's hard to take SLUMS seriously
when a tearful exchange between Vivian and Rita involves a gobbledegook
secret childhood language.
It's not as though Jenkins needed to pad the running time because
there wasn't anything more substantial with which to fill it. She never
quite explains why Vivian's mother is never discussed, never quite
explains what happened to the restaurant Murray once ran successfully,
never quite gives fully rounded personalities to Vivan's two brothers
(David Krumholtz and Eli Marienthal). There's enough going on in that
slightly radioactive nuclear famliy to fill a feature film without
bringing in Crazy Cousin Rita. SLUMS OF BEVERLY HILLS draws you in with
some sensitive observations about a family trying to cope with a profound
generation gap, as well as with a breakout performance by the
unconventionally fetching Lyonne. Then, it starts pushing you away with
gratuitous eccentricity. I wish Jenkins had showed more faith in Murray
and Vivian. Like the Abramowitzes themselves, she doesn't seem to know
how good she really has it.
On the Renshaw scale of 0 to 10 rolling Hills: 6.
- --------------------------------------------------------------------------
Visit Scott Renshaw's MoviePage
http://www.inconnect.com/~renshaw/
***
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------------------------------
Date: Sat, 12 Sep 1998 11:12:33 -0700 (PDT)
From: ANTONIO CORDERO <corderoa2@yahoo.com>
Subject: Re: [MV] 'Pretty Woman',a lovely movie
WHERE ARE YOU FROM AND WHAT'S YOUR FULL NAME IT'S SOMETHING STRANGE
THAT SOMEBODY IS TALKING ABOUT THIS ARE YOU A GIRL OR A BOY.....
- ---Yusheng <gouys@public.hr.hl.cn> wrote:
>
> Anyone have seen 'Pretty woman',It's so nice. I think it's the modern
> version of 'Cinderalla'.The man and the girl,they find the best
thing in
> each other,and changed each other forever.Could anybody tell me
something
> about the director and the writer of the movie? Are they famous in
the US?
>
>
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------------------------------
Date: Sat, 12 Sep 1998 14:03:21 -0500
From: Diane Christy <dchristy10@earthlink.net>
Subject: Re: [MV] 'Pretty Woman',a lovely movie
- ---Yusheng <gouys@public.hr.hl.cn> wrote:
>>
>> Anyone have seen 'Pretty woman',It's so nice. I think it's the modern
>> version of 'Cinderalla'.The man and the girl,they find the best
>thing in
>> each other,and changed each other forever.Could anybody tell me
>something
>> about the director and the writer of the movie? Are they famous in
>the US?
The director was Garry Marshall. He's done a lot of directing and some
acting. He's got a famous sister too--Penny Marshall--who's also into
directing. She starred in a popular sit-com a while back. I don't know
who wrote the screenplay, but I've always liked this movie. It's actually
based on the story from "My Fair Lady." I think it's Julia Robert's best
role and the last role I liked Richard Gere in. It really is one of my
favorites. I've got it on DVD. It's the director's cut. It's got a few
scenes that weren't in the original release--kind of superfluous actually.
Anyway I love this movie. Oh and in case you see it again, there's a scene
with a homeless man picking up things off the street while Gere's character
is looking for Beverly Hills. He asks this man for directions and he gives
a sarcastic answer with a thick New York accent. Anyway, that's Garry
Marshall--the director of the movie. Just a bit of trivia!!
~~~~~
Diane Christy (Samantha and Joshua's Mom)
Jefferson, LA
http://www.geocities.com/~dchristy10/
mailto:dchristy10@earthlink.net mailto:DChristy1@aol.com
<dkbc10> on AOL Instant Messenger
<dchristy10@earthlink.net> on PeopleLink http://www.peoplelink.com/v1/
ICQ #12904700
~~~~~
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End of movies-digest V2 #87
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