Enemies A Love Story Movie

The wall of Paul Mazursky's Beverly Hills office is crowded with mementos from his 20-year career as a film director. Posters of "Blume in Love" and "Harry and Tonto." Photos from "Next Stop, Greenwich Village," "Moscow on the Hudson" and "Down and Out in Beverly Hills." But the picture that catches your eye is one of Mazursky, decked out in a baggy suit, loud tie and wide-brimmed fedora.

In the heyday of the studio system, and for some time thereafter, a successful director who routinely took on assignments from his bosses would occasionally be rewarded with the opportunity to make his "own" films. These films would not infrequently turn out to be less enlivening than the director's crass commercial work, but not always. Corporate policy at least begrudgingly recognized the right of artists to be artists. The current brutal bottom-lineism of Hollywood precludes such recognition.

In the heyday of the studio system, and for some time thereafter, a successful director who routinely took on assignments from his bosses would occasionally be rewarded with the opportunity to make his "own" films. These films would not infrequently turn out to be less enlivening than the director's crass commercial work, but not always. Corporate policy at least begrudgingly recognized the right of artists to be artists. The current brutal bottom-lineism of Hollywood precludes such recognition.

The wall of Paul Mazursky's Beverly Hills office is crowded with mementos from his 20-year career as a film director. Posters of "Blume in Love" and "Harry and Tonto." Photos from "Next Stop, Greenwich Village," "Moscow on the Hudson" and "Down and Out in Beverly Hills." But the picture that catches your eye is one of Mazursky, decked out in a baggy suit, loud tie and wide-brimmed fedora.