By Robert Eberwein, Aaron Baker, Rebecca Bell-Metereau, Professor William Brown, Michael DeAngelis, Krin Gabbard, Professor Chris Holmlund, Professor Adam Knee, Professor Christina Lane, Professor Linda Mizejewski, James Morrison, Jerry Mosher
Scholars making use of quite a few important techniques discover how those motion picture stars' motion pictures converse to an elevated viewers information of advances in feminism, new rules approximately masculinity, and the complicated political surroundings within the Age of Reagan. The essays display the diversity of those stars' contributions to such conversations in various motion pictures, together with blockbusters and significant genres.
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Extra info for Acting for America: Movie Stars of the 1980s
Once he became interested in Michael Cristofer’s script, De Niro sent it to Meryl Streep, hoping that together they could replicate the success from their collaboration in The Deer Hunter six years earlier. Paramount was interested in the project for exactly that reason, and to convince studio head Michael Eisner, De Niro and Streep met in December 1983 to improvise new dialogue to add to the script. Eisner liked the changes and authorized the ﬁlm’s $13 million budget (Pfaff and Emerson 100). Falling in Love parallels the discontent of its two lead characters, Frank, an architectural engineer, and Molly, a commercial artist, both of whom work in Manhattan and live comfortably in Westchester County.
Likewise, De Niro’s gangster characters in Sergio Leone’s Once Upon a Time in America and Brian De Palma’s The Untouchables fail in their attempt to use language to explain away selﬁsh, violent behavior. De Niro’s roles as David “Noodles” Aaronson and as Al Capone in these ﬁlms therefore exemplify Sarah Kozloff’s observation that movie gangsters are frequently as proﬂigate with words as they are with violence, using both to intimidate and control others (207). To get the role of Noodles, De Niro had to convince Leone of his ability to play the character both in his thirties and as a man in his sixties.
Once he learns of the death of his black friend, Rambo’s only surviving Vietnam War comrade, the psychological and meteorological weather changes. Rambo wanders through the rain, a pitiful, homeless ﬁgure almost stereotypically girlish in his quiet demeanor, and totally abject in his poverty and ﬁlth. Rambo remains sullen yet passively resistant as a sheriff harasses him and takes him to jail, where the ofﬁcers compare him to an animal, a motif that is reiterated near the close of the ﬁlm. Torture and male nudity ensue—two popular staples of Stallone ﬁlms of the 1980s—ﬁrst placing Rambo in the shower as the object of the gaze of other males, and then causing the traumatized veteran to experience a Vietnam ﬂashback to another situation where he was semi-naked and tortured.