By Kevin Murphy
For a few of us, moviegoing is an occasional excitement. Kevin Murphy made it his obsession, and he did it for you.
Mr. Murphy, identified to legions of fanatics as Tom Servo at the mythical television sequence Mystery technology Theater 3000, went to the flicks each day for a yr. That's every unmarried day, humans. For a whole fricken' year. and never basically did he undergo, he prevailed -- for this can be the hilarious, poignant, attention-grabbing magazine of his adventures: the 1st e-book concerning the video clips from the audience's aspect of view.
Kevin went to the multiplex, yes. yet he didn't cease there. He stumbled on the world's smallest advertisement movie show. one other one made thoroughly of ice. looked at flicks in a tin-roofed hut within the South Pacific. Tooled around the desolate tract from drive-in to drive-in in a cool convertible. Lived for every week completely on theater meals. Took six assorted ladies to an identical date motion picture. Dressed up as a nun for the Sing-Along Sound of Music in London. Sneaked into the Cannes and Sundance movie gala's. Smuggled a complete Thanksgiving dinner right into a movie show. And observed countless numbers of movies, from the Arctic Circle to the Equator, from the elegant to the unspeakable. Come alongside on a joyous worldwide party of the cinema with a guy on a challenge -- to spend A yr on the Movies.
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Extra info for A Year at the Movies: One Man's Filmgoing Odyssey
But what appears to have incensed Taylor as much as her exploitative role in a “pornographic script” was that she was being forced to do the ﬁlm by her longtime studio for her standard MGM salary (variously reported as $125,000 and $150,000) in order to complete her contract so she would be free to accept a lucrative offer to play Cleopatra at Twentieth Century-Fox (Amburn 121). With BUtterﬁeld 8 and the end of her MGM contract, Taylor’s reputation within the industry as a savvy businessperson also begins to become known to the general public through press accounts of her ﬁnancial wheeling and dealing.
But I didn’t feel immoral then, though I knew what I was doing, loving Richard, was wrong. I never felt dirty, because it never was dirty. I felt terrible heartache because so many innocent people were involved. But I couldn’t help loving Richard. I don’t think that was without honor. I don’t think that was dishonest. It was a fact I could not evade. (Elizabeth Taylor 106) When the press ﬁnally got wind of the Taylor-Burton liaison, there was a ﬁrestorm of publicity, with the affair consistently getting prominent, even front page, treatment in papers across the world beginning around 20 February 1962.
He chieﬂy expressed frustration PAUL NEWMAN 31 that his attempts to break from his star persona rarely succeeded with the public. Newman told Playboy in 1968, “I’m running out of steam. Wherever I look, I ﬁnd parts that are reminiscent of Luke or Hud or Fast Eddie. Christ, I played those parts once and parts of them more than once. It’s not only dangerous to repeat yourself, it’s goddamned tiresome” (Richard Warren Lewis, “Paul Newman,” July 1968, 68). Fittingly, Newman’s ﬁnal ﬁlm of the 1960s would be his biggest hit of the decade and a sign of the height of his star appeal, but it was not one of his more creatively ambitious efforts.
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