Tracy, an aspiring designer from the slums of Chicago puts herself through fashion school in the hopes of becoming one of the world's top designers. Her ambition leads her to Rome spurring ... See full summary »
Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers.
This is story of Paulie Cooper, a former med student who becomes ill with paranoid schizophrenia and loses 18 years of her life due to the sickness. After her release from a mental ward Paulie struggles to rebuild her life with help from doctors, nurses and a new experimental medicine drug that would help aid her back to health. She spends the rest of her life re-adjusting to life outside of the institution and to a world that had misunderstood and shunned her. Written by
In an attempt to improvise the "walk" of a homeless indigent, Diana Ross discreetly placed an orange between her skirted thighs and proceeded to hobble along on cue. The effort required to keep the concealed orange in place without using her hands, effected a gait so uncanny that Ross's director, Larry Elikann, later quizzed her about how she walked the "walk." According to Ross, herself, as related to the audience on Inside the Actors Studio (1994) (19 February 2006), she never did disclose the simplicity of her little ruse. See more »
Diana Ross is gripping as a 42-year-old woman just finished with her third year of medical school who is sidelined by a particularly destructive bout of paranoid schizophrenia, a condition she's aware of and has lived with since her mid-20s. The delusions and voices come and go, but when a kindly doctor intervenes with a new drug, Ross has a chance to actually rebuild her life. A sensitive, educational TV-film that strives--and perhaps stresses a might too hard--to teach the viewer something about mental illness (as well as the shame family members feel about the disease, and their eventual acceptance of it). It's a heady acting vehicle for La Ross: she takes on this highly dramatic, unglamorous (and some may say well-trodden) role and gives it bitterness, rage, confusion and, finally, hope. The narrative is engineered to relay the overall goodness of our medical community (which may seem like a stretch to Ross' character, having been hospitalized over 40 times), while the writing is occasionally too flowery. Still, a disturbing and moving effort, with a gem of an ending.
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