Word: criticism
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Dates: during 1950-1959
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Just before the final curtain at a Broadway opening one night last week, the theater critic of the New York Times, a mild, slender, unassuming man with steel-rimmed spectacles and a grey mustache, slipped inconspicuously out of the Lyceum Theater and walked two blocks back to his paper. He settled into his chair on the third floor of the Times building on 43rd Street, and following the practice of years, spread out the theater program, a dozen freshly pointed pencils and a legal-size pad of lined paper. Then, writing by hand, one paragraph at a time-each snatched...
...Free Tickets. On nights when a Broadway production is baptized, none of the New York critics speaks with more effect than Justin Brooks Atkinson, 65. Part of his effect stems from the fact that he is the Times critic and part from his own reputation built through the years. "Half our lives,'' says Broadway Producer David Merrick (Fanny, La Plume de Ma Tante), "depend on a good review from Atkinson." Says Producer Alfred de Liagre Jr. (J.B.): "In terms of influence, Brooks is worth any four of the other critics." These awed testimonials...
...York. Getting there involved five years of apprenticeship on two Massachusetts papers and a brief digression as English instructor at Dartmouth. By 1922 he was within strolling distance of Broadway, editing the Sunday book section of the Times; and three years later, when the Times's Drama Critic Stark Young resigned, Atkinson took Young's place...
...through the opulent textures of the Wagnerian orchestra-particularly in the climactic Liebestod in Act III. Perhaps because of debut stresses, the voice also had its marked drawbacks; at times it sounded strained, took on a steely glitter when more opulent warmth was called for. Apparently a more severe critic of herself than some of Manhattan's reviewers, Soprano Nilsson said later: "After the first act I was just physically tired, and my throat was dry. The first act is as hard as all of Aida...
...core of this cruel, powerful picture from France, in which the New Wave of cinematic creation matches the high-water mark established by Black Orpheus (TIME, Nov. 16). Like that film, The 400 Blows (Les Quatre Cents Coups) is the work of an unknown: a 27-year-old cinema critic named Francois Truffaut, who made the film for only $110,000. Last May the picture won him the Cannes Film Festival's award for the year's best direction, and it is expected to make about...