Word: counts
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Dates: during 1950-1959
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...Chronicle, under Publisher Charles Thieriot and Executive Editor Scott Newhall, has moved toward the top spot among San Francisco newspapers with an unequaled array of columnists specializing in sophisticated spice (TIME, April 13). But the danger of sex becoming mere smut is sharply illustrated in the case of Count Marco, newest member of the Chronicle's stable of columnists...
Born Marco Spinelli in Pittsburgh (his father is an Italian count, but Marco will not inherit the title, blandly admits that his use of it is "crass and commercial"), wispy, mustachioed Count Marco, 41, is a widower, an ex-actor (he played the fool in Twelfth Night), ex-producer of television soap operas, ex-hairdresser. His column "Beauty and the Beast," smirkingly instructs San Francisco housewives on all manner of boudoir-and-bathroom behavior. A prize example...
Defending his newest columnist against growing criticism, Editor Scott Newhall says loftily: "The column is aimed at the American wife who is approaching a more mature age, and affords her a chance to restore some of the excitement she had in her younger years. Count Marco is writing around the brink of a great big Freudian abyss." Where Editor Newhall may be going wrong in his circulation drive is in mistaking a sewer for an abyss...
...Fisherman (Centurion Films; Buena Vista) will probably net the biggest box-office catch since The Ten Commandments, despite the fact that it has all the vices and almost none of the homely virtues of the Lloyd C. Douglas novel that inspired it. For oldtime Moviemaker Rowland V. Lee (The Count of Monte Cristo) knows just where the millions lie: in fictionalized history, resplendently costumed, sexed up, and heavily flavored with religion. There are sumptuous orgies in palaces that look like the new banks of Beverly Hills; John the Baptist is beheaded in 70-mm. Panavision, color and stereophonic sound...
...middle-aging English professor (Alec Guinness) who goes on a holiday in France with nothing to declare but a hollow in the heart. He no sooner suggests that "a man has to be empty before he can be used" than he has a chance encounter with a decadent French count (Alec Guinness) whom he strikingly resembles. The professor is tricked into assuming the Frenchman's identity, along with a down-at-the-plumbing Loire chateau crammed with impressive horrors: the count's plaintive wife (Irene Worth), who fears for her life because of a portentous clause...