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In the first place, a bullfight is not a game, or a contest in the sense which Grantland Rice suggests. There is never any question of win or lose, because the outcome is never in doubt. The bull always dies. A bullfight is rather a sacrifice. It is high tragedy...

Author: NO WRITER ATTRIBUTED | Title: BULLFIGHTING | 11/1/1952 | See Source »

Limelight (Charles Chaplin; United Artists), Chaplin's first film in five years, is a sad disappointment. Intended as a tragicomedy, if not a tearjerker, it is a two-thirds bore that comes to life in the last half-hour or so, when the old-master clown stops trying to...

Author: /time Magazine | Title: Cinema: The New Pictures, Oct. 27, 1952 | 10/27/1952 | See Source »

The Man Who Died. Boastful, untruthful, utterly incompetent, Apthorpe dies of fever in a West African hospital. But it is only when he is on his deathbed, "staring at the sun-blinds with his hands empty on the counterpane," that the reader grasps the true nature of Waugh's...

Author: /time Magazine | Title: Books: War Revisited | 10/27/1952 | See Source »

Maugham tells of a young Englishman, smashed up for life in a plane accident, whose devoted wife and brother have fallen passionately in love and are having an affair. The hopeless cripple providentially dies-only for the nurse suddenly to insist that he was murdered. The rest of the play...

Author: /time Magazine | Title: The Theater: Old Play in Manhattan, Oct. 20, 1952 | 10/20/1952 | See Source »

The Fourposter (Stanley Kramer; Columbia) is unique for being a movie with only two characters and one set. The picture traces the milestones of a marriage from the vantage point of a bedchamber in a Manhattan brownstone: the turn-of-the-century wedding night; the arrival of the first baby...

Author: /time Magazine | Title: Cinema: The New Pictures, Oct. 13, 1952 | 10/13/1952 | See Source »

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