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...WHITE DEVIL. A revival in modern dress recaptures all the gory gothic elements of John Webster's 17th century melodrama of destruction wrought by ambition, greed, murder and revenge...

Author: /time Magazine | Title: Television: Mar. 4, 1966 | 3/4/1966 | See Source »

...THURSDAY NIGHT MOVIE (CBS, 9-11 p.m.). The Devil at Four O'clock. Spencer Tracy, as a hardhanded Irish-American priest, and Frank Sinatra, as a hard-case Italo-American criminal, invoke the blessings of heaven in their work at a children's leper colony situated on the slopes of a volcano that may erupt any moment...

Author: /time Magazine | Title: Television: Mar. 4, 1966 | 3/4/1966 | See Source »

...than with her mother, and lectured her sternly about his superior philosophical systems ("Mine," he wrote, "are based on reason, and yours are merely the fruit of stupidity"). He was more jovial with his valet Carteron: "Ah: you ancient pumpkin cooked in bugs' juice, third horn of the devil's head, codface drawn out like the two ears of an oyster, slipper of a procuress." It was hardly an appropriate tone to take with one's valet, but Carteron was no ordinary valet; he was a member of the orgy...

Author: /time Magazine | Title: Books: The Wicked Mister Six | 3/4/1966 | See Source »

...pattern of Marxist influence is also present in the structure of the play as a whole. Frantz, like Geotz of The Devil and Good Lord and Hugo of Dirty Hands, is liberated by his choice to face life as it is, which for Sartre meant choosing Marxism. "Going downstairs" is a perfect symbol for the acceptance of political participation by so many of Sartre's other characters, and suicide always follows their conversion as it does Frantz's. Yet Sartre still clings to both philosophies. For Frantz in the end escapes mauvaise-foi, his refusal to accept the reality...

Author: By Thomas C. Horne, | Title: New York Theatre I: | 2/26/1966 | See Source »

...conflicts for all it's worth, and his actors seem always aware of what's coming off. Their awareness, furthermore, goes a long way toward making the lines comprehensible to the audience. But there isn't enough of an organic quality to the production. James Thomason's devil trembles on every line William Sinkford's God is comparatively natural and unemotional. And while each of these performances might serve on its own, they shouldn't be part of the same production...

Author: By James Lardner, | Title: J.B. | 2/25/1966 | See Source »

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