Word: craige
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Dates: during 1950-1959
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...Harriet Craig (Columbia). George Kelly's Craig's Wife, a play about a woman whose passion for tidiness destroyed her marriage, was a 1926 Pulitzer Prizewinner. In 1936, as a movie starring Rosalind Russell and John Boles, it was rated one of the better pictures of the year. Hollywood's current version is not so successful...
Wearing a mannish hairdo, Joan Crawford plays the overneat Harriet Craig with sexy emphasis. As her thoroughly housebroken husband, Wendell Corey is careful never to drop ashes on the rugs, sit on the arm of the sofa, or put a damp glass on an end table. Besides riding herd on Corey, Joan bullies her servants, snipes at the inoffensive widow next door, tries to break up K.T. Stevens' romance with William Bishop. Her ineffectual villain'es come to a head when, to prevent her husband's going alone to Japan on business, she defames...
...original Craig's Wife, Playwright Kelly wrote of a woman who loved her home more than her husband and was willing to risk involving him in a murder because speaking out might threaten her home. Scripters Anne Froelick and James Gunn have dropped the murder from the plot of Harriet Craig. They concern themselves instead with a jealous woman who tries to dominate her husband. This may be the reason the movie loses headway early and becomes a tiresome wait for the worm to turn and give Joan Crawford her comeuppance...
...modified two-platoon system in the games played thus far. When the Big Green goes on defense, Ed Larigan and Don Myers, a pair of 100-pounders, go in at the end posts. Bill Monahan, who is a rugged defensive player despite his 188 pounds, takes over tackle, and Craig Murphy, 205 pounds, teams with him. The guards are veteran Pete Bogardus, 195 pounds and Pete Reich, a 202-pound sophomore...
Jones is the most important designer, not only of the three, but of the entire American theater. Influenced directly by Gordon Craig's "new stagecraft," and indirectly by Adolphe Appia's theories of light, Jones designed a production of "A Man Who Married a Dumb Wife" in 1915. Instead of using stained glass and gothic arches to indicate a medieval scene, Jones symbolized the spirit of the play with light frame construction and cheerful primary colors. Historical accuracy was unimportant; in its place Jones put his own, highly personal, response to the play...