The idea of A History of the American Film must have seemed enchanting to its young author, Christopher Durang. It takes a few basic characters right through the typical genre movies—and others—from Intolerance to Earthquake. There is Loretta, the sweet girl from the orphanage, whom every kind of evil befalls without making her shed her innocence. She is part Loretta Young, part Sade's Justine, and wholly in love with Jimmy, who goes from Jimmy Cagney to Bogart, from Jimmy Dean to Brando, always slapping Loretta around, ditching her, or making her equally unhappy by not ditching her. There is also Bette, who is Bette Davis and other tough and mean females, whose chief purpose is not so much to take Jimmy away as to make Loretta suffer more in the process. She is also Joan Crawford, Barbara Stanwyck, and Sade's Juliette among others.
Then there is Hank, the strong and silent yokel, who is Fonda, Stewart, and Cooper until he goes bonkers and becomes Tony Perkins in Psycho. And there is Eve (Arden), the perennial good-natured, wisecracking loser. Lastly, there are several Contract Players, doing various typical Hollywood parts. All of them, when not playing parodic movie scenes, become spectators at a typical Bijou, which is the main set of the show…. The symbiosis is complete: Audience and movie stars not only live off each other, they actually melt into each other. And on and on go the same basic idiotic relationships, through Westerns and war movies, thrillers and Busby Berkeley musicals….
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