Word: contrasts
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Dates: during 1950-1959
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...than by man. In re-creating the terrifying last days of Pompeii, the show had the help of an excellent script-the contemporary letters of Pliny the Younger to the historian Tacitus-and dramatic excerpts from a pair of vintage Italian films. Sins of Pompeii and Fabiola. In somber contrast to the deluge of volcanic fire and dust that buried the city and its inhabitants, the camera strolled down the empty, cobbled streets of present-day Pompeii and glanced up at the peaceful, picturesque cone of Vesuvius...
...barriers imposing geographical segregation that often makes a farce of the North's free dom from segregation in the schools. They also told a story of progress, pointed out that the weight of Northern opinion and law supports the Negro's fight for first-class citizenship-in contrast with the Deep South's defiance of the U.S. Supreme Court's integration decision. Wrote the Chicago Tribune's Reporter Ottley: "There are Negroes who complain that progress in the North is slow. Some even drape themselves in crepe and wail. Actually, the pace is breakneck, sometimes...
...wild beauty of his surroundings. In the Rockies, as he was about to move forward on foot, he noted that "there were some fine asters in bloom." The scene before him was "a gigantic disorder of enormous masses, and a savage sublimity of naked rock, in wonderful contrast with innumerable green spots of a rich floral beauty shut up in their stern recesses...
Wildest Beast. By contrast to Soutine. Vlaminck leaves no doubt of his initial debt to Van Gogh. Recalling the day he saw his first Van Gogh oils. Vlaminck says: "When I left that gallery, I loved Van Gogh more than my own father.'' Vlaminck, onetime bicycle racer, nightclub fiddler and casual Sunday painter, began turning out paintings in pure, clashing colors that made him, along with Matisse, one of the leaders of the fauve (wild beast) school, and as Derain said, "the wildest of the beasts...
...Knew Too Much (Paramount), a remake by Alfred Hitchcock of his 1935 thriller, is almost buried beneath the weight of Technicolor, Vista-Vision and an endless Storm Cloud Cantata performed by the London Symphony Orchestra and the Covent Garden Chorus. Indulging his taste for contrast, Hitchcock takes an American family-so glossily normal that it might have popped out of a refrigerator advertisement-and sets it down in the eternal grime of Marrakech, Morocco. The family: Jimmy Stewart, a surgeon from Indianapolis; Doris Day, his songbird wife; Christopher Olsen, their typically cute son who thinks North Africa looks just like...