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...send his son, Alonzo Jr., into the game to try an end run. Stagg refused, and Chicago lost the game, 21-18. Afterwards, Crisler asked Stagg why he had refused. Stagg pointed to an obscure footnote in the rule book: "The committee deprecates the use of a substitute to convey information." Alonzo Jr. had lost his chance to become a football immortal (he never even won his letter) because Old Man Stagg refused to wink at the rule book...

Author: /time Magazine | Title: Sport: The Coach | 6/16/1952 | See Source »

...merit certainly does not lie in the writing. Last year's book showed that the article on the year as a whole--the lead article--could be an exercise in good writing in an effort to convey the spirit as well as the facts of the Harvard year. This year's lead article has no spirit, no theme--except for one brief attempts to find a trend toward "purity" in a series of restrictive measures by various legislative and administrative bodies. It is essentially a rambling, not too exciting account of what went on in 1951-52, spotted with several...

Author: By David L. Ratner, | Title: 316 | 5/21/1952 | See Source »

...Researcher Ruth Mehrtens. A later postscript came just a few weeks ago, when Gissen met Marquand, who said: "All the time you were using me I was using you." Marquand, who had drawn on the TIME team for characters in his new book, Melville Goodwin, USA, asked Gissen to convey his apologies to Miss Mehrtens for portraying her as an unpleasant character in the book...

Author: /time Magazine | Title: A Letter From The Publisher, may 12, 1952 | 5/12/1952 | See Source »

Orpheus is unique because the actors display a very limited range of emotion and expression. Jean Marais, as Orpheus, a Parisian poet, rarely raises his voice and never moves quickly. Yet his rugged features and stature, by the slightest change of movement, convey grief, irony, and happiness. This physical containment, especially in the scenes where he moves in "the other world" creates a breath-taking tension. The characters of Death (a women) and the chauffer enter this world they see one another in the rear-view mirror of the Rolls Royce in the same constrained manner...

Author: By Jonathan O. Swan, | Title: Orpheus | 4/8/1952 | See Source »

...percent of the time. His intelligent and perceptive face, dominated by large, expressive eyes, makes him the most interesting child actor in decades. In a role such as this, where there is no doubt that Tom Brown will do the heroic thing, it is most essential that the actor convey a great deal of emotion. If it weren't for Davies, the movie would probably be hopelessly dull...

Author: NO WRITER ATTRIBUTED | Title: Tom Brown's Schooldays | 3/12/1952 | See Source »

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