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Since then our Paris bureau has kept close tabs on Poujade, and so has the French press. Ex-Bookseller Poujade fumed whenever TIME referred to his following of small shopkeepers and craftsmen as tax dodgers. But he was still eager when Correspondent George de Carvalho, who was his shadow all through the December election campaign, told him that TIME planned a cover story about him. "Well, let's get it over with," said Poujade. "What do you want to know?" Replied De Carvalho: "Everything." Poujade chuckled and nodded: "Go ahead...

Author: /time Magazine | Title: Publisher's Letter, Mar. 19, 1956 | 3/19/1956 | See Source »

Most disappointing were the new sets and staging. The Flute's libretto, with its pseudo-Masonic mumbo jumbo and up to 16 bewildering scene changes, has always been a terror to stage craftsmen, but it also offers charm, humor, pageantry and plenty of cues for imagination, and these the Met missed. Scenic backgrounds were ingeniously provided by special 5,000-watt projectors, but most of the projections were hazy and dull (one, during the Queen of the Night's big aria, looked like a distorted Manhattan skyline). And despite the magic lights at his disposal, Scene Designer Harry...

Author: /time Magazine | Title: Music: Flat Flute | 3/5/1956 | See Source »

...Advocate. Raditsa feels that none of its members will assume any intellectual "responsibility," that is, the board will commit itself to no opinion nor does it attempt to find what is really new in intellectual and literary currents. Thus, by sticking exclusively to its present aim--to develop undergraduate craftsmen--the Advocate has shirked its responsibility as a publication...

Author: By Frank R. Safford, | Title: The Advocate: Danger Was Once Sweet | 2/1/1956 | See Source »

...Knife, from first frame to last, arches with tension like a drawn bow. The Odets script, adapted for the screen by James Poe, has been beautifully grained and shaped by two fine craftsmen, and it takes every ounce of strain that Producer-Director Robert Aldrich leans against it. Aldrich gets striking performances from his actors. Jack Palance, a gifted portrayer of brute instinct, is miscast as a man whose problem is the loss of his instincts, but his intensity and sincerity propel the action vigorously even where they confuse its motives. Ida Lupino, as always, is a capable trouper; Shelley...

Author: /time Magazine | Title: Cinema: The New Pictures, Oct. 24, 1955 | 10/24/1955 | See Source »

...white man's demand for the sea otter had all but exterminated the Indian's main trading staple. Gone with the sea otter were prosperity and the passion for the potlatch. The gradual loss of ritual meaning stultified Northwest Indian art, turned its craftsmen into little more than manufacturers of tourist curios...

Author: /time Magazine | Title: Art: THE BIG SPENDERS | 9/5/1955 | See Source »

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