Word: climaxes
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Dates: during 1950-1959
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This year and next, when the returns from the Italians' big gamble with multimillion-dollar productions come rolling in, will tell the tale. But no matter what the climax, it is sure, in a vital respect, to be an anticlimax. The finest hour of the Italian cinema was rung in with Open City (1946) and tolled out with Umberto D (1952), and every man of talent in the Italian movie industry knows it. Few are willing to give up the prospect of prosperity, but most are sad and just a little ashamed to see their pictures become more...
...asked one question: When? "It's tomorrow," said Hans softly, as they drove into Berlin. Next day came the bomb-shattering climax to years of plotting on Adolf Hitler's life by Otto, Hans and thousands of others. When that day ended in failure, Hans was in Gestapo custody and Otto was flying back to Madrid for his life. In Madrid, he dyed his blond hair black, went on to Portugal and to the British (who used him to interrogate important German prisoners). Brother Hans lingered under Nazi torture until the night of April 22, 1945. Then...
...course, a gory good finish, with Stewart standing off the murderer (Raymond Burr) with a barrage of popping flashbulbs, and somebody remarking that an important piece of evidence can be found in a hatbox. But the best of it is the moment in which Hitchcock dares to break his climax wide open to get a laugh -and gets away with it. When the New York cops run to the rescue, the film, just for an instant, runs in fast motion, producing a constabular celerity that has not been observed since the days of the Keystone Kops...
...John produced the nugget of the festival, Stanley Bate's Third Symphony. From the first soft notes on the bassoons, it was clear that the work was a discovery. Unusual tone colors glittered against each other throughout the first two movements, and the finale sizzled to a fine climax with a shooting, presto subject and a rolling, Beethovian coda that finished with a bang...
...building, not so much because of its great glass and steel bulk as because of a series of brilliant mosaics which run like a bright tapestry over vast expanses of the exterior walls. On the building's north façade the mosaics soar to a ten-story climax where a great mural in reds, yellows and greens covers 4,800 sq. ft. In the center is a figure symbolizing La Patria, a woman dressed in Indian costume; above her is a Mexican eagle flanked by representations of Revolutionist Emiliano Zapata and Aztec Emperor...