For moviegoers who didn’t buy Julia Roberts’ Ivory Snow call-girl routine, get ready for Whore, British director Ken Russell’s unglamorized version of life as a prostitute on L.A.’s mean streets. Based on a play by former London cabdriver David Hines, the story — about a hooker fleeing from her bloodthirsty pimp — has been Americanized to fit its new Hollywood Boulevard setting. Theresa Russell, last seen as a streetwalking undercover cop in Sondra Locke’s Impulse, has the title role. Odds are she doesn’t ride off into the sunset in a white limo.
The soon-to-open Postcards From the Edge, based on Carrie Fisher’s novel, chronicles the intensely competitive relationship between a young woman (Meryl Streep) recovering from a drug problem and her movie-star mom (Shirley MacLaine). But even though Fisher has acknowledged past substance abuse and has a former movie star, Debbie Reynolds, for a mom, don’t call the film autobiographical. ”It’s not about us,” Reynolds recently told Entertainment Weekly. ”All mothers and daughters have these moments, and Carrie and I certainly had ours, but nothing like this movie. Number one, I do not fight and I do not argue. Her viewpoint of her life and my viewpoint of her life are very different. My son (Todd Fisher) lived the same life as my daughter and had a wonderful time. Carrie’s a very deep girl, and she’s very fun and sunny, but she does have her side of feeling depressed at times. I don’t feel down because I’m an Aries and I was born April 1. That doesn’t make Carrie wrong, but I shouldn’t be judged by what she writes.”
Dynamic Duo Returns
Richard Pryor and Gene Wilder are at it again. Hollywood’s most popular salt-n’-pepper comic duo are teaming up for the fourth time in the appropriately titled Another You. Wilder plays a chronic liar released from a sanitarium into the care of Pryor, a con man fulfilling a community-service sentence. Peter Bogdanovich (Texasville) will direct the outpatient treatment gone awry when production begins in New York later this month. In their three previous comic collaborations — Silver Streak (1976), Stir Crazy (1980), and See No Evil, Hear No Evil (1989) — the pair has had tremendous success, raking in more than $215 million at the movie box office. The guys are bad, they’re bad.
The Final Frontier
How did Peter Filardi, the 28-year-old screenwriter of Flatliners, come up with the idea of medical students jump-starting each other back to life after taking a peek behind death’s closed door? ”My best friend died for a minute and a half during an operation. Although he didn’t recall anything, it was enough to get me thinking,” Filardi explains. And what the first-time screenwriter thought about was that death was a new frontier for film. ”The West, space, and dreams have all been pretty well charted,” he says, ”but death, the oldest mystery, is still the greatest mystery.” Filardi will only describe his next screenplay as a thriller with thought-provoking themes. ”I’m not going to write something that isn’t risky or controversial,” he promises.
Archie and Ronnie
Nora Ephron (who wrote When Harry Met Sally… and the current Steve Martin vehicle, My Blue Heaven) is teaming up with her sister Delia for a script based on the adventures of the eternally teenaged denizens of Archie comics. Back in her high school days, Nora recalls, everyone resembled one of the series’ characters. ”You knew who you were,” she says ruefully. ”It wasn’t a question of who you wanted to be. For a woman, when you’d read Archie, you’d know immediately whether you were Betty or Veronica.” So which were the Ephron sisters? Wholesomely cute gal-next-door Betty, or gorgeous, rich Veronica, who is utterly spoiled by male attention? ”Well, we certainly were not Veronica,” Nora says.
Written by: Tim Appelo, Christopher Henrikson, Jess Cagle, and Melina Gerosa