Word: careers
(lookup in dictionary)
(lookup stats)
Dates: during 1930-1939
Sort By: most recent first
(reverse)
...able to pass the tests; furthermore, special grants of ?20 a year would be made to impoverished subalterns. This was capped with a new system of speeding the promotions of young officers, speeding the retirement of elderly officers. Mr. Hore-Belisha crowed: "These new measures insure that an army career throughout its various stages will now be possible for an officer without private means...
Elongated, mountainous Crete, fourth largest island in the Mediterranean,* has two distinctions: it is potted with prehistoric remains, has long been the spawning ground for revolts. From Crete, Eleutherios Venizelos, a native of the island, launched a political career in the course of which he became Premier of Greece no less than seven times. From Crete, in March 1935, he supported one of the fiercest revolts in modern Greek history, seized several warships, only to have his revolt squelched. Old Venizelos fled to Paris, where he died year later...
Directors, unlike producers, are rarely graduates of the cloak-&-suit trade. They are more apt to be onetime actors, writers, theatre directors or assistant cameramen. The career of the cinema's current No. 1, better story material than some of the screen plays he has worked on, provides a fair example...
Since 1926, Capra's career has been eventful but straightforward. His one flop was For the Love of Mike, with Claudette Colbert, in 1927. The picture that made him tops in Hollywood was It Happened One Night with Claudette Colbert and Clark Gable in 1934. He had been discovered by Harry Cohn long before that, repaid his benefactor with hits like That Certain Thing (1928), Dirigible (1931), Platinum Blonde (1931), The Bitter Tea of General Yen (1933), Lady for a Day (1933). From 1930 to 1932, Capra worked only on pictures written by Jo Swerling. Then Capra...
Decision to transform Gable from a menace to a mountebank was characteristic of Capra. The formative period of his artistic career was spent teaching Mack Sennett actors to put curves on their custard pies. Regarding himself as an average cinemaddict, he feels sure that anything he enjoys will be enjoyed also by 10,000,000 other people. Old line directors, before talkies cramped their style, liked to stamp and bellow at their actors, strut and show off on the set. Like most of his contemporaries, Capra works without mannerisms, confers quietly with his actors and technical crew before each take...