Word: bentley
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Dates: during 1960-1969
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Despite the title, playwright Ronald Alexander has male the albatross, Nat Bentley, a talentless television writer-producer played by Robert Preston, the only lovable aspect of his play. Bentley is the same sort of appealing, good-natured fraud that Preston played in The Music Man. He cons other people into doing his thinking and writing for him, but he has no self-delusions...
...black and grey Bentley snaked south out of Los Angeles along the Santa Ana Freeway, shook free of the traffic, and began to climb fast on a mountain road through the open country. At the wheel was a shapely brunette beauty?secretary, assistant and part-time chauffeur to the man in the back seat listening to Mantovani on a built-in stereophonic tape recorder. The car stopped on the mountaintop, where a friend was waiting; the man got out, a trim 6 feet with heavy-lidded blue eyes and an actor's dash. The wind riffled his wavy, iron-grey...
...Mombasa, Kenya; a French satellite city outside Toulouse to house 100,000 people?in which the planners are doing as much as the politicians and statesmen to determine how men will live tomorrow. And the planner who has the most to plan with is the man in the Bentley: William Leonard Pereira, 54, an architect from Chicago who is pinning more and more of the state of California on his drawing board. Pereira's name is unknown to most Americans, and of course among professionals he hardly ranks with Athenian Constantinos Doxiadis, planner of Islamabad, the huge new capital...
Some time back, when sobersided Britons belabored Author Ian Fleming for the consumer snobbery of his caddish hero (James Bond's car is a Bentley, his girls invariably smell of Guerlain), Fleming was unrepentant. He was sorry, he said, only for having once permitted Bond the unforgivable gaffe of ordering asparagus with bearnaise instead of mousseline sauce. But in Fleming's latest Bond bombshell, there are disquieting signs that he took the critics to heart. On page 152, sophisticated Secret Agent 007 cozies up to a blonde who smells of nothing more aristocratic than Mennen's baby...
...most complex and delicate character Shaw had yet created. Shaw limned for us a hero who is anti-heroic. As he said in a Note, "Caesar is greater off the battlefield than on it... I have been careful to attribute nothing but originality to him." Caesar is, as Eric Bentley astutely observed, utterly devoid of the two types of action traditionally associated with the heroes of melodrama: revenge, and erotic passion. Instead, Shaw transfers the skill in both to Cleopatra. Thus he is already playing around with his thesis that it is woman who pursues man, not the other...