Word: director
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Dates: during 1950-1959
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Curiosity & Avocation. The man who best exemplifies the growth of U.S. oceanography into a major science is Columbus O'Donnell Iselin II himself. Since the prewar days when he solved the Navy's temperature problems off Guantanamo, he has been longtime director of Woods Hole, seen its fulltime staff grow from a prewar 24 to the present 300, its fleet from one ship to five, is now its senior oceanographer...
...oceanography. For the first time in its life, Woods Hole had enough money. More Navy millions went to California's Scripps Institution of Oceanography, which matches Woods Hole in growth, and claims, with California confidence, the whole Pacific Ocean as its domain. Dr. Roger Revelle, director of Scripps, is an enormous man (6 ft. 4 in.) who looks as if he were specially designed, both physically and temperamentally, to study the Pacific Ocean. He asks such large questions as: "Where did the sea water come from? Are the oceans growing or diminishing? Are the continents growing?" He believes that...
...next ten years Iselin sailed with the Atlantis, crisscrossing the Atlantic and doing an oceanographer's chores-trailing thermometers at varying depths, testing water for density and salinity. In 1940 he became director of Woods Hole, saw U.S. oceanography transformed into a Naval auxiliary. For some reason, neither the German nor the Japanese navies ever got in touch with their oceanographers, who were excellent. "This made a hell of a difference in World War II," says Iselin...
...worst thing about Goldwyn's Porgy, though, is its cinematic monotony. The film is not so much a motion picture as a photographed opera. Just to make sure the customers get the point, Vienna-born Director Otto Preminger has directed most of it as though it were a Bayreuth production of Gōtterdāmmerung, Choruses march and countermarch; actors lumber woodenly about the stage, obviously counting their steps, and then suddenly take up a stance and break into song. And for some strange, wrong reason -perhaps to give the show an elevated, operatic tone-the actors speak...
Porgy and Bess (Samuel Goldwyn; Columbia). The sound stage burned down. The leading man almost quit. The original director was fired. But Producer Sam Goldwyn kept plugging away at his long-awaited, much-ballyhooed screen version of George Gershwin's durable Broadway musical. By the time the show was in the can, it had cost more than $7,000,000 to produce-and it may cost almost as much again to promote and distribute. If Sam's past performance (The Best Years of Our Lives, Guys and Dolls) is anything to go by, he will probably...