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Come Back, Africa. Filmed in secret and crude in craftsmanship, Lionel (On the Bowery) Rogosin's candid-camera movie manages a fairminded, matter-of-fact look at a modern nightmare: the black depths of South African society...

Author: /time Magazine | Title: CINEMA: Time Listings, may 9, 1960 | 5/9/1960 | See Source »

Come Back, Africa. Filmed in secret and crude in craftsmanship, Lionel (On the Bowery) Rogosin's candid-camera movie manages a fairminded, matter-of-fact look at a modern nightmare: the black depths of South African society...

Author: /time Magazine | Title: CINEMA: Time Listings, may 2, 1960 | 5/2/1960 | See Source »

...over two years, British hostility to the Common Market has troubled relations between the NATO nations. That hostility has sometimes been less than candid. The British argued that by erecting a unified tariff wall against outside nations, the Common Market Six would throw a spanner into intra-European trade. What they really meant was that Britain's exports to the Six would be hurt. Even when they formalized the economic division of Western Europe by organizing the rival but looser seven-nation European Free Trade Association, Britain's leaders insisted that all they were trying...

Author: /time Magazine | Title: Foreign News: The Price of Aloofness | 4/25/1960 | See Source »

Nevertheless, Rogosin finds beauty in South Africa, too, most of it in the vital faces of the Negro population, in their sunburst smiles and roars of laughter, in the explosive imagination of their dances, and above all in the sheer demonic genius of their music. All Rogosin's candid-camera work is done with impressive skill and sensitivity. Where the director has trouble is in the acted action. Almost all his players are amateurs, and he has obviously tried to make them relax and act natural; but except in one exciting bull session among Negro intellectuals, most of them...

Author: /time Magazine | Title: Cinema: A Camera in Johannesburg | 4/25/1960 | See Source »

...pretentious just isn't my style." With his relatively low budget ($107,500 a show) and his low-pressure approach, Moore reasoned that he could not depend on big names. Now his crew of regulars includes Announcer Durward Kirby, fluttery Marion Lome, Allen Funt, with his candid camera, and Singer Carol (Once Upon a Mattress) Burnett, whom Moore considers "the one major comedy talent among girls to come along in the last ten years." There is also a list of about 35 "semi-regular" guests. This week the visitors were Jack Benny and Diahann Carroll, but it was crew...

Author: /time Magazine | Title: Show Business: Giant Killer | 2/29/1960 | See Source »

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