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Storyline
Life's flotsam and jetsam turn up at late 1930's Holloywoodland's door, once more, in this insightful tale of wannabes and desperadoes. Tod Hackett, artist, has inspirations to become noticed until he meets Faye Greener, blonde bombshell, and is immediately smitten. She has other ideas. She has Homer Simpson, victim, in her sights and cruelty and loneliness takes new meaning as all three are slowly sucked into the Hollywood system of sycophants, liggers and parasites, sucking the life from others as the life, and soul, is slowly sucked from them. Written by
Cinema_Fan
Plot Summary
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Plot Synopsis
Taglines:
It happenend in Hollywood. But it could have happened in hell.
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Did You Know?
Goofs
In the first few minutes of the movie there is a drive up a road to the Hollywoodland sign. The road ends at a sightseeing/tourist spot and parking area at the foot of the "H." In reality the road passes behind the sign and above it on the hill. The hillside at the "H" is too steep for a road/parking area and there are no traces of one ever having been there.
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Quotes
[
first lines]
Mrs. Odlesh:
It isn't as splashy as some other places, but we pride ourselves on being a little classier.
Tod Hackett:
[
referring to a large crack in the plaster wall]
Hmmm, the crack's real.
Mrs. Odlesh:
Oh yes. We call this our earthquake cottage. Mrs. Porter had occupancy then. During the big one in '33. Property damage ran into the millions.
Tod Hackett:
Will you fix it if I stayed for a while?
Mrs. Odlesh:
Oh no! No! This is our showplace. Mrs. Porter wouldn't let us touch that wall. She worked that sampler herself to cover over the hole. ...
[...]
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Connections
Referenced in
The Simpsons: Penny-Wiseguys (2012)
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Soundtracks
"JUNE IN JANUARY"
Music by
Ralph Rainger
Lyrics by
Leo Robin See more »
Wow...
I've sat here in front of this blank for several minutes now.
I cannot find another word to describe this movie. The building tensions are handled so deftly, the ending, which must rank among the most harrowing scenes in all art, comes both as a surprise and as no surprise.
William Atherton, Karen Black, Donald Sutherland, Burgess Meredith, Richard Dysart - all incomparably perfect in every way in these roles.
Schlesinger is a master, the Barry score is cleverly arranged and the Hall photography and Clark editing, especially in the final sequence is just about the most prodigiously horrendous and horrific in all cinema.
I'm still shaking.