Mail from our readers
Kudos to Entertainment Weekly for not doing another run-of-the-mill Warren Beatty-is-an-icon-jerk article (97, Dec. 20). There’s no denying his star power after films like Reds and Heaven Can Wait, not to mention, as he states laughingly, his take (percentage) from Bonnie and Clyde. The man has it all; so what if he’s famous for flings with his leading ladies? I’d say that’s one hell of a star perk.
Newport Beach, Calif.
How ironic that in the same issue that Warren Beatty bemoans the influence of outsiders on which movies become box office hits and which don’t, we also read Gregg Kilday’s article about Bette Midler and how For the Boys is headed for oblivion because the under-25 set is avoiding it. In fact, throughout your magazine, audience demographics, critical grades, and box office tallies point to monetary failure for this fine film.
Regardless of the critical reviews, For the Boys is an exceptional film. The viewer rides an emotional roller coaster and comes away with a profound sense of what moviemaking could, and probably should be. I hope theater owners have the courage to allow For the Boys to catch on with audiences, as I’m certain it will. I also hope movie-goers will have the foresight to see this film on the big screen instead of waiting for the video to come out. It’s that good.
Truth or Scare
I agree with Richard Rouilard, editor of The Advocate, when he says the rumors regarding Madonna’s HIV status are a ”straight backlash.” There is an unstated message in America that AIDS should just run its course, as we’d be better off without all the gays, and further, anyone who assists in the fight against this global disease, such as Madonna, must be infected with the virus herself. Why else would she care?
It’s appalling to see the media’s concern over whether or not Madonna has tested HIV-positive. If half of this energy were used to find a cure, maybe we could end this crisis. I hope Madonna never lets the ignorance of society impede her concern over such a crucial cause.
Digging In Hooks
Owen Gleiberman’s review of Hook was interesting because he faults Steven Spielberg for having spent ”too much time with his gizmos…his blockbuster dreams,” while also calling his forays into more literate fare (The Color Purple, Empire of the Sun, Always) ”misguided.” I would remind Gleiberman that, in the early 1980s, similar criticism led to these ”misguided” films. It would seem that Spielberg can’t win: Make Hook and be accused of still not having grown up; make Empire of the Sun (an engrossing and emotional film despite its flaws) and the audience stays away in droves.