Word: dvoraked
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Dates: during 1940-1949
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...scoundrel"-i.e., he is not to be mistaken for a human being. Georges Duroy (George Sanders)-Bel Ami to his lady friends-is a scoundrel, at the very least. Starting all but penniless, he climbs aboard Journalist John Carradine's friendship; charms Carradine's brainy wife (Ann Dvorak) into working for him; draws her widowed friend (Angela Lansbury) into a hopeless infatuation; sets a publisher's virtuous wife (Katherine Emery) burning with ill-repressed desire for him; exploits the virginal love of her daughter (Susan Douglas) ; makes a pass (unsuccessful) at devout Frances Dee; contracts a convenience...
...highly polished posturings. Director Lewin also sets himself the impossible task of trying to clean up a naughty story for the family trade. Because adultery is taboo to Hollywood's censors, Angela Lansbury is represented as a widow and Mr. Sanders does not take up with Miss Dvorak until she is a widow too. An old gentleman who was unmistakably Miss Dvorak's lover in the book is presented in film as a dear old friend of the family. A part which Maupassant thought of as a very shady lady (prostitute, except in Hollywood), is played by Marie...
...amiable little story involves four department-store salesgirls (Claire Trevor, Gail Russell, Jane Wyatt, Ann Dvorak) who long for a flashy stage setting to help them catch millionaire husbands. They hit on the scheme of pooling their room rents and leasing a $300-a-month Long Island house. A nice retired saleslady (Billie Burke) agrees to act as their mother. After a bit of high-pressure persuasion, the store's pinchpenny fop of a floorwalker (Adolphe Menjou) is dragged along as a window-dressing husband & father...
Divorced. By Ann Dvorak, 34, onetime Hollywood extra whom Howard Hughes raised to stardom in Scarface: Leslie Fenton, 43, film director-producer, former cinemactor-portrayer of dope addicts, gangsters and moral weaklings; after 14 years of marriage, no children; in Hollywood...
Borrowing from your own, or some other nation's, storehouse of folk music is an old composer's trick. Dvorak and Puccini used U.S. tunes. Tchaikovsky not only reworked Russia's own Song of the Volga Boatmen but borrowed a bar or two from Italian music. Ravel, Chabrier and Rimsky-Korsakov took from the Spanish; Aaron Copland from the Mexicans. Last week the U.S.S.R. and the U.S. decided to work each other's musical gold mines officially...