Bosley Crowther wrote of Marilyn Monroe in "Bus Stop": "Fortunately for her and
for the tradition of diligence leading to success, she gives a performance in this picture that marks her as a genuine acting star, not just a plushy personality and a sex symbol." This blather is pure ignorance, but I can't figure out if it's from his unawareness of Marilyn's very public private life,
or if it's just plain critical witlessness. After attending Lee Strasberg's Actors Studio for a go at trying to be more than a sex goddess, Marilyn decided
to bring what she thought she absorbed to William Inge's cloying bit of rural Americana. Maybe only once in her movies is urban vamp Marilyn barely acceptable as campestral -- in "The River of No Return," with Robert Mitchum as
her much-needed anchor -- but not in this tripe, and not in a performance that
records a nervous breakdown. She believed she should have at least won an Academy Award nomination for it; instead, it marked the real beginning of her descent. Authors and the psycho drummers have long guessed that she was always
unstable, and this movie is in its own sick way a confirmation, and, further, it's evidence of the damaging relationship she had with Strasberg and his family. They ruined America's most giggly, charmingly seductive comedienne -- they turned her into a lachrymose, corseted Madeleine Sherwood. Another Joshua
Logan-directed mess, with Don Murray (Oscar-nominated), Eileen Heckart, Betty Field, Arthur O'Connell, Hope Lange and a lot of fake snowflakes.
Bosley Crowther wrote of Marilyn Monroe in "Bus Stop": "Fortunately for her and
for the tradition of diligence leading to success, she gives a performance in this picture that marks her as a genuine acting star, not just a plushy personality and a sex symbol." This blather is pure ignorance, but I can't figure out if it's from his unawareness of Marilyn's very public private life,
or if it's just plain critical witlessness. After attending Lee Strasberg's Actors Studio for a go at trying to be more than a sex goddess, Marilyn decided
to bring what she thought she absorbed to William Inge's cloying bit of rural Americana. Maybe only once in her movies is urban vamp Marilyn barely acceptable as campestral -- in "The River of No Return," with Robert Mitchum as
her much-needed anchor -- but not in this tripe, and not in a performance that
records a nervous breakdown. She believed she should have at least won an Academy Award nomination for it; instead, it marked the real beginning of her descent. Authors and the psycho drummers have long guessed that she was always
unstable, and this movie is in its own sick way a confirmation, and, further, it's evidence of the damaging relationship she had with Strasberg and his family. They ruined America's most giggly, charmingly seductive comedienne -- they turned her into a lachrymose, corseted Madeleine Sherwood. Another Joshua
Logan-directed mess, with Don Murray (Oscar-nominated), Eileen Heckart, Betty Field, Arthur O'Connell, Hope Lange and a lot of fake snowflakes.
Bosley Crowther wrote of Marilyn Monroe in "Bus Stop": "Fortunately for her and
for the tradition of diligence leading to success, she gives a performance in this picture that marks her as a genuine acting star, not just a plushy personality and a sex symbol." This blather is pure ignorance, but I can't figure out if it's from his unawareness of Marilyn's very public private life,
or if it's just plain critical witlessness. After attending Lee Strasberg's Actors Studio for a go at trying to be more than a sex goddess, Marilyn decided
to bring what she thought she absorbed to William Inge's cloying bit of rural Americana. Maybe only once in her movies is urban vamp Marilyn barely acceptable as campestral -- in "The River of No Return," with Robert Mitchum as
her much-needed anchor -- but not in this tripe, and not in a performance that
records a nervous breakdown. She believed she should have at least won an Academy Award nomination for it; instead, it marked the real beginning of her descent. Authors and the psycho drummers have long guessed that she was always
unstable, and this movie is in its own sick way a confirmation, and, further, it's evidence of the damaging relationship she had with Strasberg and his family. They ruined America's most giggly, charmingly seductive comedienne -- they turned her into a lachrymose, corseted Madeleine Sherwood. Another Joshua
Logan-directed mess, with Don Murray (Oscar-nominated), Eileen Heckart, Betty Field, Arthur O'Connell, Hope Lange and a lot of fake snowflakes.
Bosley Crowther wrote of Marilyn Monroe in "Bus Stop": "Fortunately for her and
for the tradition of diligence leading to success, she gives a performance in this picture that marks her as a genuine acting star, not just a plushy personality and a sex symbol." This blather is pure ignorance, but I can't figure out if it's from his unawareness of Marilyn's very public private life,
or if it's just plain critical witlessness. After attending Lee Strasberg's Actors Studio for a go at trying to be more than a sex goddess, Marilyn decided
to bring what she thought she absorbed to William Inge's cloying bit of rural Americana. Maybe only once in her movies is urban vamp Marilyn barely acceptable as campestral -- in "The River of No Return," with Robert Mitchum as
her much-needed anchor -- but not in this tripe, and not in a performance that
records a nervous breakdown. She believed she should have at least won an Academy Award nomination for it; instead, it marked the real beginning of her descent. Authors and the psycho drummers have long guessed that she was always
unstable, and this movie is in its own sick way a confirmation, and, further, it's evidence of the damaging relationship she had with Strasberg and his family. They ruined America's most giggly, charmingly seductive comedienne -- they turned her into a lachrymose, corseted Madeleine Sherwood. Another Joshua
Logan-directed mess, with Don Murray (Oscar-nominated), Eileen Heckart, Betty Field, Arthur O'Connell, Hope Lange and a lot of fake snowflakes.
Bosley Crowther wrote of Marilyn Monroe in "Bus Stop": "Fortunately for her and
for the tradition of diligence leading to success, she gives a performance in this picture that marks her as a genuine acting star, not just a plushy personality and a sex symbol." This blather is pure ignorance, but I can't figure out if it's from his unawareness of Marilyn's very public private life,
or if it's just plain critical witlessness. After attending Lee Strasberg's Actors Studio for a go at trying to be more than a sex goddess, Marilyn decided
to bring what she thought she absorbed to William Inge's cloying bit of rural Americana. Maybe only once in her movies is urban vamp Marilyn barely acceptable as campestral -- in "The River of No Return," with Robert Mitchum as
her much-needed anchor -- but not in this tripe, and not in a performance that
records a nervous breakdown. She believed she should have at least won an Academy Award nomination for it; instead, it marked the real beginning of her descent. Authors and the psycho drummers have long guessed that she was always
unstable, and this movie is in its own sick way a confirmation, and, further, it's evidence of the damaging relationship she had with Strasberg and his family. They ruined America's most giggly, charmingly seductive comedienne -- they turned her into a lachrymose, corseted Madeleine Sherwood. Another Joshua
Logan-directed mess, with Don Murray (Oscar-nominated), Eileen Heckart, Betty Field, Arthur O'Connell, Hope Lange and a lot of fake snowflakes.
| Sysop: | Keyop |
|---|---|
| Location: | Huddersfield, West Yorkshire, UK |
| Users: | 298 |
| Nodes: | 16 (2 / 14) |
| Uptime: | 00:59:56 |
| Calls: | 6,675 |
| Calls today: | 7 |
| Files: | 12,219 |
| Messages: | 5,339,677 |