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...political stance than on its artistic merits. Scott's sense of irony, well integrated with his actions, and his fine voice set him apart from the rest of the cast, and provided the only possible reason for paying eight dollars to see the show. When he criticizes the cardboard character of college acting, he speaks as an acknowledged master...

Author: By Michael Ryan, | Title: With Harold Scott | 3/23/1972 | See Source »

...readers as housewives and club members with limited concerns. Says Colleen Dishon, a former women's editor in Chicago and now in charge of a women's news service: "Women's pages for the most part have always embraced the all-American dream and added a cardboard dog to complete the family." The newer type assumes reader interests far beyond brides, diapers and charity luncheons, and strives for male readers as well...

Author: /time Magazine | Title: The Press: Flight from Fluff | 3/20/1972 | See Source »

...main characters also suffer from this cardboard figure effect. Michael Jayston and Janet Suzman are extremely good in the title roles, but one doesn't believe they were quite as shallow and naive as their lines indicate. One also wishes that the screenwriter had not put so many "Nicky" and "Sunny" references in the script; even though Nicholas II was a weak monarch not everyone could have had the audacity to call the Tsar of all the Russians "Nicky." Even Haldeman, Kissinger and Mitchell have admitted that they always call Nixon "Mr. President," never "Dick...

Author: By Leo FJ. Wilking, | Title: The Romanovs in Hollywood | 2/18/1972 | See Source »

...Queen Elizabeth, which was anchored just outside Hong Kong's busy harbor. Suddenly the ship caught fire. Most of those aboard escaped without injury while fireboats fought the rapidly spreading blaze. Next day, with her upper decks collapsed and her massive steel hull buckled like so much soggy cardboard, the ship, still burning, keeled over. The Queen had died...

Author: /time Magazine | Title: The World: End of the Queen Elizabeth | 1/24/1972 | See Source »

...either distant specks or huge, sculptural presences-bronze father figures on plinths, reclining "classical" marbles or faceless wooden dummies. But this world has none of the solidity of Renaissance townscape. Instead, it is enigmatic and spectral; the perspectives tilt irrationally and contradict one another, the façades are cardboard, the inhabitants ghosts. "These characters in costume who gesticulate under a 'real' sky, in the middle of 'real' nature, have always given me the impression of something as stupid as it is fake," De Chirico wrote later. He was speaking of theater, but the preference...

Author: /time Magazine | Title: Art: Looking Backward | 1/24/1972 | See Source »

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