These days, at the box office, all that glitters seems to be Gould. Elliott the omnipresent has come a long way since his Broadway debut 14 years ago as a chorus boy in a short-lived musical called Rumple. His first wide recognition followed a role in I Can Get It for You Wholesale, a hit Broadway show that also featured a young singer-turned-actress named Barbra Streisand. As everyone knows, Elliott and Barbra were married (in 1963); when they separated six years later, Streisand was a superstar and Gould was still a promising actor with a long list of credits. After Wholesale, he starred in the London production of On the Town, then returned to tour the U.S. in The Fantasticks. He next demonstrated his versatility as an actor, singer and dancer in Once Upon a Mattress (on television) and starred in Drat the Cat, a musical spoof of old-time melodrama, which--despite great reviews--closed after one week. He followed this with another near flop, Jules Feiffer's Broadway play Little Murders. While the show was not a commercial success in its first incarnation, Elliott's performance won high praise. (He recently formed a production company that owns the film rights to Murders as well as to Bernard Malamud's The Assistant.) After touring the summer-theater circuit with Shelley Winters in Luv, he was signed for his first movie, The Night They Raided Minsky's, then returned to New York for what proved to be another ill-starred stage venture, A Way of Life. Hollywood again beckoned Elliott for Bob & Carol & Ted & Alice, in which he played (as he puts it) "one quarter of the title role." His performance earned him more than fractional acclaim, however: He was nominated for an Academy Award as best supporting actor. His second screen role completed, he reported to 20th Century-Fox for M.A.S.H. From his s.m.a.s.h.i.n.g. portrayal of a wild Army surgeon with total disdain for military protocol, he went into Getting Straight as a close-to-30, uptight graduate student. When Move is released this fall, it will be the fourth film Elliott has made in little more than a year. (In yet another starring role, he'll be the subject of next month's Playboy lnterview.) Move is probably his most physically demanding movie to date: He's in over 90 percent of the scenes, one of which has him leaping onto the back of a policeman's horse. Herein we present some of the more physically rewarding scenes from the film to commemorate the advent of Hollywood's Goulden Age.
