On Friday night I went to see my parents. Both of them have been reading Les memoires d’Hadrien. Before going to bed we played Barbra Streisand’s A woman in love and they danced. My father remarked that he could understand why Barbra was such a gay icon, ‘because she just got everything right.’ lol.
oh yeah. I reread parts of Streisand’s wikipedia, and an interesting post anticipating the new star is born. The article pointed out that the 1976 version was full of crap dialogue and campiness:
Gaynor was ambitious as Esther, Garland less so, but driven still. And Streisand was a little bit of everything in her portrayal.
That ‘a little bit of everything’ goes a long way for Streisand, who not only executively produced this film, conceptualized its adaptation, casted, wrote songs, acted, co-wrote the screenplay, styled, etc, but constructed a complex myth of motley -ness in doing.
"Pre-moistened Handi-wipes, fabric softener, stain remover, strawberry douche — everything for a perfect marriage kit!"
"Strawberry douche?"
"Unless you prefer apricot."
"Would you like to rub salt in your ass!?"
"I love you, Esther."
"I hate you."
"I love you."
"I hate you."
"I love you." (They kiss awkwardly.)
"I hate you."
"I love you."
"I hate you."
"I love you."
"I hate you."
"I love you."
"I love you." (Full make-out)
sic.
just seeing it transcribed like this Irigaryan statistic, it stands on its own. The leads’ lack of chemistry adds to the seventies performance-art hellishness of it all, needless to mention the self-abnegating rituals of which famous art couple…
That description of a 'perfect marriage kit' 😟 i wisj i'd written it. Tho with Joan Didion credited as screenplay writer, I can't say I'm surprised ...
