Mommie Dearest

Total Page:16

File Type:pdf, Size:1020Kb

Mommie Dearest lopsided shape of the picture. It's so bulky Film and ravenous that it may have elbowed charcters out of the script and shouldered a dozen scenes out of the final cut. It's the kind of performance to which an actress's Mommie ego is obviously committed, where she puts everything she has on the line and dares the critics to hate her. The least you can say of Dearest Dunaway is that she totally inhabits the character. Her eyes appear unfocused and psychotic even in the rare moments when the character is in repose. As for "doing" Crawford, I found her expressions and mannerisms more arresting than the "un- canny" physical resemblance I was led to expect. Both actresses were endowed with Hal Crowther great cheekbones, but that's the extent of it. Drawing hr Gregory Vigrass Miss Dunaway is a beautiful woman and Beaten black and blue by her mother for dropping, no glamorous walk-ons, no Miss Crawford was a beautiful woman, but storing an expensive dress on a wire hanger, gratuitous Filmland lore. With the necessary when you put Crawford's makeup on the nine-year-old blond moppet surveys the exception of Louis B. Mayer—done to a Dunaway you've combined two beauties to wreckage of her beautiful room left in turn by Howard Da Silva—there's no create one hag. Dunaway has seldom looked Mommie's wake and voices the only possible attempt to cash in on any film legend besides less attractive. reaction: "Jesus Christ!" Miss Crawford's. For all the acting, the energy, and the The line was a calculated (and success- What he gives us is such a tight, narrow internal integrity of Dunaway's big scenes— ful) audience-pleaser, but it just about sums focus on Crawford and her daughter that the and "big" has an extended, Gotter- up my critical response to Mommie Dearest. close-ups quickly become claustrophobic. dammerung meaning here the thin material Like the bruised moppet, a very promising Joan and Christina exist in a vacuum. A begins to wear quickly during the second little actress named Mara Hobel, 1 was second child, a son, is invisible even when hour. Perry hasn't pandered to the curious impressed and appalled. Happily, Holly- he's on screen. The actress's lover, a studio but neither has he made any point that wood has aborted the launching of a lawyer (Steve Forrest), is bland and decent. would justify the film without them. Clearly poisonous new genre. There won't be dozens A terrified nanny scurries about in the Joan Crawford can be included in that 95 of features based on the lascivious memoirs shadows. No friends or associates ever percent of the adult population that's unfit of Boris Karloff's mistress or the spiteful appear. There's no hint of how Joan to raise children. Her cruelty is particularly contentions of Lana Turner's maid. But the Crawford might appear to anyone else in disgusting because of the cloying sweetness prototype for the new gossip cinema didn't Hollywood. she affected for the celebrity press. The film go down with a strangled whisper. It The potentially rich background is so has some good moments with those ironies. rumbled, roared, exploded, and burst into bare that Perry seems to be dodging lawsuits, But, on balance, she was just a little worse flames. You could smell it burning a mile or staying off the toes of all living persons. than most parents, worse for her stubborn away. Joan Crawford and L. B. Mayer, both vindictiveness rather than for the emotional Mommie Dearest, the best-selling securely buried, are the only individuals who horror-shows that make such good reading. dismemberment of the late Joan Crawford could possibly take exception to Mommie Which of us hasn't gone through a few of by a disinherited daughter, was a film Dearest. those with Mom or Dad? project that promised to make money but Perry bets absolutely all his chips on Defending Joan Crawford, Faye Dun- bring very little credit—although possible Faye Dunaway's carnivorous performance away unwittingly sawed off the branch she ostracism—to its director. Frank Perry, the and on the exhausting scenes where was sitting on. "If you saw a woman slapping filmmaker who took it on, is an artist of Crawford abuses and humiliates her daugh- her child in the street, you'd probably think considerable talent but of no distinctive style ter. He never loses our attention, but the the kid had been giving her a hard time," that would bring his name to anyone's lips suspense and audience involvement are in Faye told a reporter. "If you saw Joan when Hollywood's sensitive veterans are part the easy kind you can wring from stories Crawford slapping her child, you'd think: being discussed. about tortured puppies. You hear the 'That's Joan Crawford. My God, what a In the past, in films like David and Lisa, master's heavy tread, the music changes, monster she is.— Dunaway's right. If the Play It As It Lars, and Diary of a Mad close-ups on his boots and the club in his mother were anyone other than Joan Housewife, Perry has had success with hand, the puppy begins to whine— Crawford, no one would have made the psychological themes and strong emotion. The miracle is that neither little Hobel picture. Mommie Dearest indicates that he made a nor Diana Scarwid, who plays Christina as a In life and on the screen, Joan decision to stay within his known strengths. teen-ager, are reduced to props and Crawford was always the driven woman The film makes no pretense of being punching bags for the rampaging Dunaway. struggling to escape her humble origins. She Hollywood history. There's no name- At times the nine-year-old looks like a small always succeeded. Mommie Dearest, in boat adrift in a hurricane, but she holds her some ways as ambitious as she was, is less a Hal Crowther, critic, columnist, and screen- own. grand failure than a very loud one. It never writer, is editor of the Spectator, in Raleigh, By itself, Dunaway's performance as escapes its humble origins in gossip and North Carolina. Crawford could be responsible for the revenge. • Winter 1981/82 37 .
Recommended publications
  • Click to Download
    v8n4 covers.qxd 5/13/03 1:58 PM Page c1 Volume 8, Number 4 Original Music Soundtracks for Movies & Television Action Back In Bond!? pg. 18 MeetTHE Folks GUFFMAN Arrives! WIND Howls! SPINAL’s Tapped! Names Dropped! PLUS The Blue Planet GEORGE FENTON Babes & Brits ED SHEARMUR Celebrity Studded Interviews! The Way It Was Harry Shearer, Michael McKean, MARVIN HAMLISCH Annette O’Toole, Christopher Guest, Eugene Levy, Parker Posey, David L. Lander, Bob Balaban, Rob Reiner, JaneJane Lynch,Lynch, JohnJohn MichaelMichael Higgins,Higgins, 04> Catherine O’Hara, Martin Short, Steve Martin, Tom Hanks, Barbra Streisand, Diane Keaton, Anthony Newley, Woody Allen, Robert Redford, Jamie Lee Curtis, 7225274 93704 Tony Curtis, Janet Leigh, Wolfman Jack, $4.95 U.S. • $5.95 Canada JoeJoe DiMaggio,DiMaggio, OliverOliver North,North, Fawn Hall, Nick Nolte, Nastassja Kinski all mentioned inside! v8n4 covers.qxd 5/13/03 1:58 PM Page c2 On August 19th, all of Hollywood will be reading music. spotting editing composing orchestration contracting dubbing sync licensing music marketing publishing re-scoring prepping clearance music supervising musicians recording studios Summer Film & TV Music Special Issue. August 19, 2003 Music adds emotional resonance to moving pictures. And music creation is a vital part of Hollywood’s economy. Our Summer Film & TV Music Issue is the definitive guide to the music of movies and TV. It’s part 3 of our 4 part series, featuring “Who Scores Primetime,” “Calling Emmy,” upcoming fall films by distributor, director, music credits and much more. It’s the place to advertise your talent, product or service to the people who create the moving pictures.
    [Show full text]
  • Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
    -* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo­ gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn­ ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar­ by her mother, Mrs Ruth Pat­ ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side.
    [Show full text]
  • Introduction 1 the Good Mother
    Notes Introduction 1. By ‘motherhood’ I am referring to the character of the mother and the practice of motherhood on screen. By the ‘maternal’ I am referring to the characteristics and symbolism which evoke motherhood. 2. This is not to suggest that the figure of the mother is entirely absent from pre-1960s cinema, rather that a range of socio-economic factors led to a development in the horror genre. For the purposes of clarity I wish to focus on post-Classical horror cinema. 3. This is not to suggest that no debates about motherhood existed prior to this, rather that discussions of the mother in film increased greatly after these years. 4. The woman’s film centres on a female protagonist, deals with specifically ‘female’ issues (such as motherhood or domesticity) and is aimed at a female audience. For Doane, the maternal melodrama is a sub-category of the woman’s film. While the maternal melodrama is more readily asso- ciated with films of the Classical Hollywood period, it remains a popular sub-genre of modern mainstream cinema. The maternal melodrama, as the name suggests, deals with the figure of the mother and the impact of motherhood on her life or that of the child. 5. This is not to suggest that discussion of the mother/maternal is limited to these genres, simply that they seem to have provoked the most interest. 6. For example, see Alien and the various studies by Creed, Bundtzen or Rosemary’s Baby as discussed by Fischer or Kuhn. 7. See Mulvey (2000); De Lauretis, Teresa, Alice Doesn’t: Feminism, Semiotics, Cinema, Bloomington: Indiana University Press, 1984.
    [Show full text]
  • Studying Film with André Bazin
    BLANDINE JORET FILM THEORY IN MEDIA HISTORY STUDYING FILM WITH ANDRÉ BAZIN BLANDINE JORET STUDYING FILM WITH ANDRÉ BAZIN ANDRÉ WITH FILM STUDYING Studying Film with André Bazin Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, students, and other readers with a passion for film and theory. Series editors: Prof. Dr. Vinzenz Hediger (Goethe University Frankfurt, Germany), Weihong Bao (University of California, Berkeley, United States), Dr. Trond Lundemo (Stockholm University, Sweden). Editorial Board Members: Dudley Andrew, Yale University, United States Raymond Bellour, CNRS Paris, France Chris Berry, Goldsmiths, University of London, United Kingdom Francesco Casetti, Yale University, United States Thomas Elsaesser, University of Amsterdam, the Netherlands Jane Gaines, Columbia University, United States Andre Gaudreault, University of Montreal, Canada Gertrud Koch, Free University of Berlin, Germany John MacKay, Yale University, United States Markus Nornes, University of Michigan, United States Patricia Pisters, University of Amsterdam, the Netherlands Leonardo Quaresima, University of Udine, Italy David Rodowick, University of Chicago, United States Philip Rosen, Brown University, United States Petr Szczepanik, Masaryk University Brno, Czech Republic Brian Winston, Lincoln University, United Kingdom Film Theory in Media History is published in cooperation with the Permanent Seminar for the History of Film Theories.
    [Show full text]
  • Modernism As Institution Hans Hayden
    Modernism as Institution On the Establishment of an Aesthetic and Historiographic Paradigm Hans Hayden Modernism as Institution On the Establishment of an Aesthetic and Historiographic Paradigm Hans Hayden Translated by Frank Perry Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Hans Hayden 2018 License CC-BY ORCID: Hans Hayden ORCID: orcid.org/0000-0002-0487-0666 Affiliation: Stockholm University Supporting Agency (funding): Riksbankens Jubileumsfond (The Swedish Foundation for Humanities and Social Sciences) and STINT (Swedish Foundation for International Cooperation in Research and Higher education) First published 2018 Cover Illustration: Armory Show, International Exhibition of Modern Art, Chicago, 1913. The Cubist room Cover License: By Anonymous photographer. Shot 100 years ago. [Public domain], via Wikimedia Commons Cover Design: Karl Edqvist, SUP Translator: Frank Perry (from Swedish to English) Original version in Swedish: Hayden, Hans, Modernismen som institution. Om etableringen av ett estetiskt och historiografiskt paradigm, Östlings bokförlag Symposion, Eslöv 2006. Stockholm Studies in Culture and Aesthetics ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-071-3 ISBN (PDF): 978-91-7635-068-3 ISBN (EPUB): 978-91-7635-069-0 ISBN (MOBI): 978-91-7635-070-6 DOI: https://doi.org/10.16993/bar This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This licence allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated.
    [Show full text]
  • Catalog Sixty-Eight the CELLULOID PAPER TRAIL
    catalog Books Royal sixty-eight Ca talog Sixty-Eight talog Royal Books THE CELLULOID PAPER TRAIL Oak Knoll Press is pleased to announce the publication of Terms and Conditions Kevin R. Johnson’s The Celluloid All books are first editions unless indicated otherwise. Paper Trail. The first book All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected ever published on film script by new archival covers. Single, unframed photographs identification and description, housed in new, archival mats. lavishly illustrated and detailed. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral Designed for any book scholar, items can be found on our website. including collectors, archivists, Any item is returnable within 30 days for a full refund. librarians, and dealers. Books may be reserved by telephone, or email, and are subject to prior sale. Payment can be made by credit card Available now at royalbooks.com/cpt or, if preferred, by check or money order with an invoice. or by calling 410.366.7329. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. Please feel free to let us know if you would like your copy signed or inscribed by the author. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter.
    [Show full text]
  • Celluloid Couches, Cinematic Clients
    I N T R O D U C T I O N JERROLD R. BRANDELL Freud’s eyes fall on the doll which is propped up on the couch. After a pause: FREUD Cecily, how did your father come to give you the doll? Cecily has a prolonged nervous coughing spell. FREUD (Gently suggesting) Perhaps you should lie down on the couch. —From the screenplay to Freud, 1962 Psychoanalysis, with more visibility now than at any other time in its hun- dred-year history, continues to capture the public imagination and to excite controversy. Despite the implementation of draconian measures by health maintenance organizations that limit mental health treatment, and the pro- mulgation of such aberrations as single-session psychotherapy, psychoanalysis and psychodynamic psychotherapy are, by recent estimates, practiced by greater numbers of clinicians than at any point in the past.1 Increasingly, psy- chologists, clinical social workers, psychiatric nurses, and others, once barred from psychoanalytic institutes, have sought such training. Psychoanalytic ideas, now more or less adrift from mainstream American psychiatry, which 1 2 Jerrold R. Brandell has become increasingly biological, have also found fertile ground in such aca- demic disciplines as literature, anthropology, linguistics, and film studies. Indeed, Hollywood has never been more interested in the treatment process and relationship in psychotherapy and psychoanalysis, to which a spate of recent films—Girl, Interrupted (Mangold, 1999), Instinct (Turteltaub, 1999), Good Will Hunting (Van Sant, 1997), The Sixth Sense (Shyamalan, 1999), and the popular HBO series, The Sopranos (Chase, 1998)—attests. This cultural fascination with the unique intimacy of the treatment situation is also reflected in the popularity of literary narratives about the therapeutic process.
    [Show full text]
  • The Adventures of Huckleberry Finn" to Film
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2005-03-18 Translating Huck: Difficulties in Adapting "The Adventures of Huckleberry Finn" to Film Bryce Moore Cundick Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Cundick, Bryce Moore, "Translating Huck: Difficulties in Adapting "The Adventures of Huckleberry Finn" to Film" (2005). Theses and Dissertations. 256. https://scholarsarchive.byu.edu/etd/256 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact scholarsarchive@byu.edu, ellen_amatangelo@byu.edu. TRANSLATING HUCK: DIFFICULTIES IN ADAPTING THE ADVENTURES OF HUCKLEBERRY FINN TO FILM by Bryce M. Cundick A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University March 2005 Copyright © 2005 Bryce M. Cundick All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Bryce M. Cundick This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. _________________________ __________________________________________ Date Dennis R. Cutchins, Chair _________________________
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at uknowledge@lsv.uky.edu. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • 1923-05-18 Pm
    The Plymouth Mail VOL. XXXV, NO. 25 PLYMOUTH, "MICHIGAN, FRIDAY, MAY 18, 1923 WHOLE No. 141 < FIRST PRESBYTERIAN CHURCH WHITE & WYCKOFF MFG. CO.’S This Week’s Specials Rev. S. Conger Hathaway, Pastor Auto Craft Linen Distinctive Social Stationery 75c Maxixe Cherries ............................................ 59c 75c Cadet Chocolate Almonds ..............................59c I HAVEN’T TIME Special at 50c Harmony Cocoanut Oil Shampoo .................33c A common excuse for non-attendance at church is lack of 5 0 e per box 25c Peroxide (Puretest) .......................................13c time. But you have time for the things you really prize. You SEE OUR WINDOW find time for your meals, your club or lodge, your business, your NOVELTY BORDER STATIONERY home. Don’t fool yourself. If you truly think God is worth SPECIAL $1.00 Symphony Charme, special ....................... 83c while you will have time for him. SATURDAY AND SUNDAY 85c LeClaire, special..............................................63c WE INVITE YOU TO WORSHIP WITH US NEXT SUNDAY Jumbo Salted Peanuts, a t ........................27c per lb. 50c Lord Baltimore................................................39c Chocolate Covered Peanuts, at ............ 29c pe? lb. BEYER PHARMACY Block South P hone No, ‘ Stare 211-F2 I \ M. Depot )Pinckney’s P h a r m a c y ^ MBS. FRANK WESTFALL DIES AFTER LONG ILLNESS Mrs. Mabel Christine Guenther Exide was bom July 22, 1882, in Can­ ton township, and departed this LARGEST CLASS life, May 11, 1923. September 22, See the Display for 1904, she was united in marriage to Frank Westfall, who survives her. M’he senior class of the Plymouth Her life was spent largely in and Satisfaction school this year, is the largest in the around Sheldon until about two .
    [Show full text]
  • Top 100 Complete Lijst.Xlsx
    1 THE THING (John Carpenter, 1982) 507 2 ALIEN (Ridley Scott, 1979) 495 3 THE EXORCIST (William Friedkin, 1973) 417 4 BLADE RUNNER (Ridley Scott, 1982) 393 5 THE SHINING (Stanley Kubrick, 1980) 373 6 THE TEXAS CHAIN SAW MASSACRE (Tobe Hooper, 1974) 367 7 DAWN OF THE DEAD (George A. Romero, 1978) 353 8 THE EVIL DEAD (Sam Raimi, 1981) 311 9 JAWS (Steven Spielberg, 1975) 264 10 2001: A SPACE ODYSSEY (Stanley Kubrick, 1968) 225 11 SUSPIRIA (Dario Argento, 1977) 211 12 BRAINDEAD (Peter Jackson, 1992) 209 13 ALIENS (James Cameron, 1986) 202 14 HALLOWEEN (John Carpenter, 1978) 186 15 DONNIE DARKO (Richard Kelly, 2001) 184 16 PSYCHO (Alfred Hitchcock, 1960) 178 17 EVIL DEAD 2 (Sam Raimi, 1987) 177 18 LET THE RIGHT ONE IN (Tomas Alfredson, 2008) 162 19 STAR WARS: EPISODE V ‐ THE EMPIRE STRIKES BACK (Irvin Kershner, 1980) 156 20 VIDEODROME (David Cronenberg, 1983) 156 21 PAN'S LABYRINTH (Guillermo del Toro, 2006) 132 22 ERASERHEAD (David Lynch, 1977) 122 23 MARTYRS (Pascal Laugier, 2008) 119 24 BRIDE OF FRANKENSTEIN (James Whale, 1935) 114 25 OLD BOY (Park Chan‐Wook, 2003) 109 26 ONCE UPON A TIME IN THE WEST (Sergio Leone, 1968) 99 27 AKIRA (Katsuhiro Otomo, 1988) 98 28 STAR WARS: EPISODE IV ‐ A NEW HOPE (George Lucas, 1977) 96 29 THE MATRIX (Andy Wachowski, Lana Wachowski, 1999) 96 30 NIGHT OF THE LIVING DEAD (George A. Romero, 1968) 95 31 RAIDERS OF THE LOST ARK (Steven Spielberg, 1981) 94 32 BLUE VELVET (David Lynch, 1986) 92 33 MULHOLLAND DRIVE (David Lynch, 2001) 90 34 PULP FICTION (Quentin Tarantino, 1994) 85 35 NOSFERATU, EINE SYMPHONIE DES GRAUENS (F.W.
    [Show full text]
  • JET Magazine
    BLACK ACTOR PLAYS ROLE OF WHITE RACIST Sisters are difTerent from brothers. And vice versa. That's why brothers need no-fuss Duke Natural- for men only. Easy Comb for no-tangle combing. ' Hair Sheen for condition­ ing, and the manly luster sisters go for. $1.50 each. DUKE NATURAL For men who wear it like it is. Now, sisters love to fuss with their hair-with Raveen au Naturell e. Easy-to-Comb to help style, tease, shape. Spray 'n' Glow for the soft radiance that reminds men that sisters are different. $1.50 each. RAVEEN AU NATURELLE For women who wear it like it is. Supreme Beauty Products, 1808 S. Michigan Ave., Chicago, Ill. 60616 I Afro-American New York Bed ....68 Blstor1 .....••..ll Paris Scratchpad ..83 Bus iness .......•..ol6 ~~~1e~r.!T::~: .....to Census ............29 1 Education .........2" 2 Entertainment ....53 S p~:f, ?.: : : : : : : : : : ~ tllTVol. XXXVII No. 22 Televis ion .........66 Journalism ........31 Ticker Tape .......12 March 5, 1970 Medicine ..........29 Week's Best Photos.35 A Johnson Publication National ... ....... 8 Words of the Wee k .34 NATIONAL REPORT Black SoIons To AttackBias InMilitary, Welfare The black lobby composed of nine congressmen shortly will meet with Secretary of Defense Melvin Laird to discuss the plight of blacks in the armed services. The conference, according to chairman Charles C. Diggs Jr. (D., Mich.), will be the first joint effort by the lawmakers to seek solutions to problems of discrimination and segregation in the military. In recent months, scores of black military men have complained about discrimination and urged the lawmakers to help.
    [Show full text]