Word: bloomed
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Dates: during 1950-1959
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...high order, but also "monkeyed around" with the Shakespeare script -cutting, transposing, and sometimes just plain changing-in a wickedly ingenious way. The cast Olivier has assembled is a Who's Who of the British theater-Sir John Gielgud, Sir Ralph Richardson, Sir Cedric Hardwicke, Claire Bloom, Pamela Brown-and they play, for the most part, with a remarkably even and deep-breathing power. Olivier himself interprets the title role with a mastery so complete that Richard III, in this generation can surely never be himself again...
...triumph of Richard is the triumph of sheer mummery-though inevitably the applause will not go to all the actors in equal measure. The women are excellent. Claire Bloom, as Richard's wife, has no choice but to portray a pallid case of hemi-Ophelia, but her softness is a fine contrast to the hard shape of Richard. Pamela Brown as the king's mistress, a role tellingly interpolated by Olivier, is magically effective; she says but four words ("Good morrow, my lord"), but she hangs in the offing like a sensuous portrait by Rubens, and fills...
Producer's Showcase (Mon. 8 p.m., NBC). Shaw's Caesar and Cleopatra, with Claire Bloom, Sir Cedric Hardwicke, Jack Hawkins, Judith Anderson, Cyril Ritchard, Farley Granger...
...first of the New Year's financial reports trickled in last week, and the statements added still more color to the economy's bloom. Across the U.S., big bankers found record earnings. With plentiful credit and steady repayments. Manhattan's First National City Bank reported net earnings of $42 million for 1955, 26% better than 1954; Manufacturers Trust (earnings: $16 million), Chemical Corn Exchange ($17 million), Guaranty Trust ($24 million) were all up from 10% to 29%. But California's huge Bank of America, the world's biggest private bank, had the biggest profit...
...depict Adam and Eve (see cut) Brancusi returned not to full-bloom Renaissance goddesses but to woman as a primitive symbol of fertility, and Adam as the product of his primitive tools, axed out of wood with a neck suggesting both a tree trunk and a wine press. In a narrow smoothly polished pebble, Brancusi sees the genesis of the fish form; expanded in his streamlined Fish, done in blue-grey marble, it becomes the prototype of all fish, hovering in space as if water were freshly washing past...