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...Yourself (United Artists). Far more conscious of her limitations than most actresses in or out of pictures, Fannie Brice demands certain uniform qualities of all stories suggested as vehicles for her. She must play the part of a homely girl; she must have a chance to clown, and sing her songs; she must be disappointed in love. Be Yourself, which deals with the lighter aspects of the prizefight business, fulfills all these conditions fairly well and at the same time establishes a fact which may be useful to Miss Brice when she chooses her next picture ? its burlesque...

Author: /time Magazine | Title: Cinema: The New Pictures Mar. 17, 1930 | 3/17/1930 | See Source »

Down the block, Blackamoor James Brice was sawing wood with a buzzsaw. The flywheel of James Brice's buzz-saw flew off, sailed over a church, crashed through the roof of a house, decapitated Winnie Jones...

Author: /time Magazine | Title: Miscellany: Galoshes | 3/3/1930 | See Source »

...well. Said he: "So you're the little lady from Washington who wants to go on the stage are you? Well you are certainly a knock-out for looks I will hand you that. Let us look at your legs." Soon she was sharing a dressing room with Fannie Brice...

Author: /time Magazine | Title: Books: Lorelei | 2/17/1930 | See Source »

That was the story we heard, but it turns out to have been nearly all wrong. The real facts, we have it on excellent authority, are these: About the beginning of the present century a student named Rinehart--John Brice Gordon Rinehart--was living on the top floor of Gray's Hall. He wasn't eccentric and friendless but, to all appearances, a rather normal underclassman. One night a fellow student called to him from the Yard, "O, R-i-i-ne-hart!" in a hoarse bass voice, and kept up the cry for many minutes. Other boys were calling...

Author: NO WRITER ATTRIBUTED | Title: "R-i-i-ne-hart!" | 2/8/1930 | See Source »

...this latest edition−a mockery fest which simultaneously jibes at world history, actors, producers, Broadway hits−Mimic Carroll simulates the jiggling gait of Beatrice Lillie (This Year of Grace), the lush, salivary speech of Constance Collier (the countess in Serena Blandish), the Jewish idiom of Fannie Brice (Fioretta), the long-legged, weaving rhythms of Gertrude Lawrence (Treasure Girl). He is far less successful in his one attempt to imitate a man, to catch the elusive implications of silent Harpo Marx (Animal Crackers). There are also two female mimics: Dorothy Sands and Paula Trueman. The latter sings...

Author: /time Magazine | Title: Theatre: New Plays in Manhattan: May 13, 1929 | 5/13/1929 | See Source »

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