Run Time: 87 mins
When Susan Lucci and All My Children were introduced to the world in 1970, American television changed forever. Susan’s character, the beautiful, spirited, and mercurial Erica Kane, was an originalâ€"the first vixen viewers loved to hate. But while millions have enjoyed getting to know Erica’s many sides, the woman who played her has remained a mystery.
In her long-awaited memoir, this very private actress, wife, mother, daughter, grandmother, sister, friend, and entrepreneur pulls back the curtain to reveal her story. As charming, down-to-earth, and compelling as the woman whose story it tells, All My Life shines a spotlight on one of our most popular stars and reminds u! s of the power of dreams and how we can find the courage and tenacity to make them come true.
Product DescriptionSusan Lucci was only five years old when her father shared these encouraging words with her. They inspired the highly imaginative child who loved make-believe to craft one of the most enduring characters in television history, an achievement that would earn her a record twenty-one Emmy nominationsâ€"the most for an actor in the award's historyâ€"and the crown as "Leading Lady of Daytime."
When Lucci and All My Children were introduced to the world in 1971, American television changed forever. Susan's character, the beautiful, spirited, and mercurial Erica Kane, was an originalâ€"the first vixen viewers loved to hate. But while millions have enjoyed getting to know Erica's many s! idesâ€"and have been awed at how this character has continuall! y remade herselfâ€"the woman who plays her has remained a mystery.
In her long-awaited memoir, this very private actress, wife, mother, daughter, grandmother, sister, friend, and entrepreneur pulls back the curtain to reveal her story.
Susan, like Erica Kane, has undergone a metamorphosis many times. All My Life shares the stories of those transformations: starring in roles on television and stage, where she took Broadway not just by storm but "by tsunami" as one critic raved about her performance in Annie Get Your Gun; mounting successful cabaret acts (solo and with Regis Philbin); bringing art and joy back to New York in the wake of 9/11; conquering the tango with Tony Dovolani on ABC's hit show Dancing with the Stars; and building a successful career as an entrepreneur with a signature line of products.
Susan goes beyond her success to talk about the darker moments, too, including the childhood guilt she harbored over the death o! f her dear grandmother, the car accident that nearly took away her career and her eyesight, her newborn son's life-threatening illness, coping with her husband's cancer, and the pain of miscarriageâ€"one of the many parallels between her Erica Kane.
As charming, down-to-earth, and compelling as the woman whose story it tells, All My Life shines a spotlight on one of our most popular stars and reminds us of the power of dreams and how we can find the courage and tenacity to make them come true.
A Look Inside All My Life
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| Here I am at eleven months old. | Of course, my greatest blessings have been family and friends. This is my real-life leading man and husband, Helmut Huber, on our wedding day. | This is adorable Liza, one-years-old, all bundled up in the snow. (I’m bundled up, too, in a cozy hand-knitted hat and sweater from the Norwegian mom who hosted me during my studies abroad.) | Inside my dressing room at All My Children in Los Angeles. |
Mother (Kath) and daughter (Kim) are obsessed with celebrity culture and fancy themselves celeb wannabes in their own mall-centric world. Both actresses have perfected the red-carpet catwalk, for instance, with the perfect hair-toss, which nobody but each other--and the viewer--really notices. One of the best bits about the two leads is their penchant for mangling words as they put on airs (think Archie Bunker meets Married with Children…). The malapropos alone make the series worth watching. In ! making some silly point, Kath declares, in her closing line: "! Ipso fat so." Argument won. But if Kath and Kim are shallower than the Los Angeles River, they do have big hearts underneath--which gives the series its balance.
Extras include deleted scenes, a gag reel that's truly over-the-top, and spot-on commentary by stars Shannon, Blair, Mikey Day, and John Michael Higgins, as well as the show's executive producers and writers. A lot of talent goes into making these women so perfectly dim. --A.T. Hurley "From Todd Solondz, the critically acclaimed director of Welcome to the Dollhouse comes a film comprised of two separate stories set against the sadly comical terrain of college and high school, past and present. Following the paths of its young hopeful/troubled characters, it explores issues of sex, race, celebrity and exploitation. Todd Solondz, director of the acclaimed Welcome to the Dollhouse and the controversial Happiness, continues pushing the envelope of social decorum with the merciless and casually cruel S! torytelling, his most ruthless satire of suburban complacency. Broken into two unrelated chapters, "Fiction" follows college girl Selma Blair through a degrading encounter with her resentful writing teacher (Robert Wisdom), while the more sprawling and scattershot "Non-Fiction" circles around the mutual exploitation of a fumbling documentary filmmaker (Paul Giamatti doing a near-parody of director Solondz) and his clueless subject, a suburban high school slacker named Scooby (Mark Webber). The squirmy laughs are laced with humiliation and the satire is acidic and cynical; in the world of Solondz, victims and victimizers alike are petty, selfish, vindictive, and thoughtless, and empathy is strictly rationed. Though sharply written and well directed, this misanthropic vision is strictly for daring filmgoers and Solondz fans. --Sean AxmakerLegally Blonde Reproduction Poster Print Double Sided 11 x 17 Inches - 28cm x 44cm
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Falcon's background is in Hong Kong cinema, and it shows in this made-on-a-shoestring production, filmed mostly in Palm Spri! ngs and Death Valley. (He certainly had enough opportunities to influence the production, since, besides playing the lead, Falcon pitched in as cowriter, coproducer, production designer, and costume designer on the film.) Despite the limited budget, the movie is generally entertaining, though it could probably stand to lose a couple of go-nowhere subplots that account for about 15 minutes of the 91-minute running time. --Randy Silver
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