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Also, I knew the Baptist church tower, theme of the artist's Church Bells Ringing, Rainy Winter Night. That church tower was a masterpiece of Victorian gimcrackery. It was so downright, honestly ugly that, like George Arliss, it was positively beautiful. The sound of its bell, to paraphrase Poe, was "In the startled ear of night/ How it screamed out its affright!" I think that old tower perhaps may have had a soul, and Burchfield, like William Blake, was able to commune with such spirits...

Author: /time Magazine | Title: Letters: Jul. 6, 1970 | 7/6/1970 | See Source »

Bogey to Norman. This is Vidal's personal notion as well. He firmly believes that the screen, not literature, shaped his generation of writers. "Without Bogart," he says, "there could be no Norman Mailer. Without George Arliss," he adds with a Disraeliish gleam, "there wouldn't have been...

Author: /time Magazine | Title: Books: Myra the Messiah | 2/16/1968 | See Source »

...table, his version of events tended to survive longer than anyone else's. The famous, ponderous six-volume biography by Moneypenny and Buckle, published in 1920, often fell prey to this charm beyond the grave. It also abetted the myth-later given its crudest expression in the George Arliss film of 1929-of Dizzy as a brilliant theatrical Jew, triumphing over early poverty and snobbery to create the British empire singlehanded and present it to Queen Victoria like a posy of primroses...

Author: /time Magazine | Title: Books: A Swinger for All Seasons | 3/24/1967 | See Source »

Hall of Fame (NBC, 8:30-10 p.m.). "The Invincible Mr. Disraeli," starring Trevor Howard and Greer Garson, is the first in-depth portrait of Dizzy since George Arliss' preposterous hoddydoddy. Color...

Author: /time Magazine | Title: Cinema, Television, Theater, Books: : Apr. 5, 1963 | 4/5/1963 | See Source »

...included in the picture." As a result, the Beethoven story seems to have been combined with the plot of a well-known melodrama, The Man Who Played God. Liberace could now express his musical talents as Beethoven, and satisfy his dramatic instincts in a part played by George Arliss. Even so, there were some "facets" left over. Liberace listed them: "Joy, sorrow, faith, love of family, love of children, and honesty." Obviously, a third theme was necessary; the story of a poor man's Paderewski who is nevertheless "an authentic genius" and gives pleasure to the millions...

Author: /time Magazine | Title: Cinema: The New Pictures, Nov. 21, 1955 | 11/21/1955 | See Source »

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