Word: clairs
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Into narrow twisting Vladivostok one day last week slid the bulk of the U.S. oil tanker, L. P. St. Clair. To battling Russia she brought barrels of high octane gasoline. Next day the Associated was berthed beside her with 95,000 barrels more. Early this week another arrived. And strung like a chain across the Pacific still more tankers wallowed along from the U.S. to Russia, right between the Japanese islands of Honshu and Hokkaido. If not actively fighting Fascism, the U.S. was helping to fuel the fight against...
...arrival of the L. P. St. Clair did than emphasize the fact of U.S. aid to Russia, underline the new and uncompromising U.S. policy toward Germany's friend, Japan. It pointed a finger right at a key problem of World War II: the problem...
...Deal pinchfist is Harold Le Clair Ickes, Secretary of the Interior, known to one & all as a very tough man with a dollar. He is the only Cabinet member who tiptoes about his Department turning off electric lights and running water fountains; his WPA was managed on a theory of Federal economy directly opposite to that of Harry Hopkins' WPA. But he has long reserved special wrath for a widespread business practice: submitting identical bids on Government contracts. Long ago Mr. Ickes discovered, with a Donald-Ducklike squawk, that there is almost no such thing as a low bidder...
Caught short by the President's fund-freezing order were foreign Cinemactresses llona Massey (Hungarian), Ingrid Bergman (Swedish), Michele Morgan (French), and Directors Rene Clair and Jean Renoir, both French. Miss Massey, given $125 out of her weekly $2,500 pay check, thought she could get along, made no bones about admitting she once lived on $6 a month as a Budapest seamstress...
Lean, sad Director Clair made his first English picture with Grade A Playwright Robert Sherwood. It was The Ghost Goes West, a satiric fantasy about an amorous Scottish shade, and it was a ten-strike (TIME, Jan. 20, 1936). But The Flame of New Orleans, scripted by Norman Krasna (Bachelor Mother), is no equal of The Ghost. Occasional touches-word of La Dietrich's honky-tonk past conveyed from ear to ear at her introduction to New Orleans' society, a wedding gown floating mysteriously down the Mississippi, shutters opening drowsily on the quay at dawn-give proof that...