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...latter enterprise Joan Crawford at first comes too close to succeeding. But when the film gets under way and Susan wakes up to find that her patient husband...

Author: /time Magazine | Title: Cinema: The New Pictures: Jul. 1, 1940 | 7/1/1940 | See Source »

...Fredric March) - sick of the way she has been treating him and their ugly duckling daughter (16-year-old Rita Quigley) - is about to fly the coop, Cinemactress Crawford conies into her honest own. The result is a moving marital drama, which, although it talks more than most cinemas, also has more to say. It also demonstrates that Buchmanism is a bore, at least in the movies, and that Joan Crawford, Fredric March, Rose Hobart, Nigel Bruce and Bruce Cabot...

Author: /time Magazine | Title: Cinema: The New Pictures: Jul. 1, 1940 | 7/1/1940 | See Source »

...expert direction (George Cukor), lavish mountings, best camera work and lighting in the business, and gowns by Adrian. Since Hollywood's only rival as the world's fashion centre was Paris, since Hollywood's No. 1 stylist is Adrian, and since broad-shouldered, boy-hipped Joan Crawford is one of Adrian's favorite models, Susan and God is no mean fashion event. Feminine movie goers and scouts who remembered such nationwide Adrian clicks as the puffed sleeves Crawford wore in Letty Lynton, Garbo's Eugenie hat in Romance and jaunty pillbox in Mat a Hari...

Author: /time Magazine | Title: Cinema: The New Pictures: Jul. 1, 1940 | 7/1/1940 | See Source »

...costume piece, his creations may cost the studio as much as $4,000 to execute. Somewhat frustrated by having to work without color, Adrian compensates himself by taking a high hand with his temperamental charges. He forbade Norma Shearer the frills she liked, had the idea of turning Joan Crawford from Judy O'Grady into Colonel's lady, overcame a troublesome Garbo trait by observing: "It is difficult to have an evening gown fit properly with the right lines when the person wears low heels." At parties Adrian keeps a keen eye peeled for signs of dowdiness...

Author: /time Magazine | Title: Cinema: The New Pictures: Jul. 1, 1940 | 7/1/1940 | See Source »

...under way on the studio set, cinemen & women crowded round to watch. Quintanilla, who picked for his subject the only two girls in the cast, was nicknamed "Goya." Painter Biddie and Actor John Qualen (of whom he did a portrait) played flute duets. After a ong conversation with Joan Crawford, Painter Fiene (whom Hollywood nicknamed "The Safe" because of his bulk) admitted that her legs were even more shapely than he had imagined...

Author: /time Magazine | Title: Art: Artists in Hollywood | 6/10/1940 | See Source »

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