Word: 1930s
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Dates: during 1990-1999
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...prime years, from the mid-1930s to the late '40s, were the formative days of tabloid photography. The work Weegee did then makes up the better part of "Weegee's World: Life, Death and the Human Drama," the affecting and sizable (more than 200 prints) show on view at the International Center of Photography Midtown in New York City through Feb. 22. Accompanied by Weegee's World (Bulfinch; 262 pages; $75)--probably the fanciest book ever devoted to a man who generally had a cigar stuck in his mouth--the exhibit moves on later to Paris and London...
...Standup Stapler An idea you grasp right away. The last time the stapler got serious thought was in the 1930s, when objects were streamlined for the machine-age imagination. In the ergonomic '90s, when we design for the body, the Boston stapler still keeps a nice contour. It's as grip-friendly as a handshake, as squeezable as a teddy bear, and better looking than most public sculpture...
...drama that manages to be intelligent as well as sentimental is a remake of Truman Capote's A Christmas Memory, which CBS will broadcast at 9 p.m. on Dec. 21. Based on the autobiographical story by Capote, it stars Patty Duke and is set in Alabama in the 1930s. Duke plays Sook, a childlike but loving old woman, who lives with her two sisters, her brother and her little cousin Buddy. Sook and Buddy (the adorable Eric Lloyd) are best friends. This relationship offends Sook's bossy, practical sister Jennie (Piper Laurie). They should be separated, Jennie decides, and Buddy...
DIED. STEPHANE GRAPPELLI, 89, exuberant jazz violinist; in Paris. Grappelli started out as a pianist for silent films but switched to strings for the swing standards he loved. America had Ellington, but Europe got the Quintet of the Hot Club of France in the 1930s--the chamber group-cum-jazz ensemble that featured Grappelli and guitarist Django Reinhardt. The quintet broke up during World War II, but Grappelli played on--recording more than 100 albums...
...would be unfair to suggest that this adaptation of Bent is a total failure--its ambitiousness and intrinsically powerful subject matter aside, there are a number of marvelous moments in the film. The opening sequence, which captures the sensual decadence of a gay Berlin cabaret of the 1930s, is almost worth the admission price by itself. Titillating and visually gorgeous, it's heightened by an unexpected cameo: Mick Jagger, startlingly in his element as nightclub owner Greta (a.k.a. George), performs a throaty torch song in full drag whilst suspended on a platform from the ceiling, in a menacingly campy turn...