Word: actions
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Dates: during 1940-1949
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...that even the short ones be played out. No matter how poorly Walter seemed to be shooting, nobody relaxed until he was in. But where Hagen deliberately played his opponent, Hogan coolly and distractingly plays the course as though there were nobody around. Those who have studied both in action suspect that Scientist Hogan would have been a match for Showman Hagen...
Benjy Britten seemed to have designed his apt but unexciting score to be unobtrusive, to let the words stand out. Poet Ronald Duncan's libretto had plenty of words-a male & female chorus moralized throughout-but it had too little to say and too little action. The rape scene got listeners on seat edge, but the other scenes slowed down to the speed of a grade-school tableau. Even the Herald Tribune's Thomson was disappointed: "There isn't enough music to hold the ear." Wrote his opposite number, Drama Critic Howard Barnes: "Music without a play...
Originally a play, and once before produced as a movie,* the new version of the story resembles a photographed stage show. Most of the action takes place on a single set, and the chief plot development takes place in the gunman's mind. Director Rudolph Maté (famed as a cameraman for such pictures as Carl Dreyer's Passion of Joan of Arc, René Glair's The Last Millionaire, Hitchcock's Foreign Correspondent) keeps his camera on the move through the rooms of Cobb's cottage, and occasionally overcomes the static effect...
Hitler at Sea. Through the battle of the Atlantic, the invasion of Norway, the preparations for the invasion of Britain, this mood persisted. Hitler told Raeder: "On land I am a hero, but at sea I am a coward." He consequently gave the admirals a freedom of action that the generals never had. Author Martienssen (a South African, who is assistant foreign editor of the Economist) believes that Raeder made the most of it, used his small forces effectively, and was individually superior to the run of German officers...
...series of haunting stories about it. They had the hard authenticity of firsthand pictures of war and revolution, with none of the drab, repetitious prose that is now almost a trademark of war novels. His themes were as subtle as Turgenev's, with clear and vivid pictures of action, but the distinction of his work was its fine cadenced prose. O'Faoláin's novels, e.g., A Nest of Simple Folk, had much the same quality, but were diffused and blurred by an indistinctness that lay like a mist over setting and characters alike...