Word: ella
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...home or on location in cities or deserts, she constantly plays American popular music on tape recorders and phonographs. Her lares and penates range from Ella Fitzgerald to Frank Sinatra and Peggy Lee. She securely describes herself as a beautiful woman, but she fears that people think she is dumb as well. She is forever polishing her English, syllabically going over new words again and again: "Edification, feasible, feeesible, sì? That will be feasible. Good." She has trouble with some names, like Kerrygront and Clargable, and she says Barbara Stan-wich as if it came between slices of bread...
...flatness always is (good like soma), despite the most violent exertions of the Clan to make something more of it; and, at Keith's Memorial,Rock Hudson and Doris Day, in Lover Come Back are not as good as the song whose title they stole can be when Ella sings...
...refreshing change from the smoldering young sirens whose singing style tries to suggest that they are capable of unseemly passion, Joanie sounds throaty but relaxed, is admired both by rock 'n' rollers (for whom she steadfastly refuses to rock) as well as by those who pant for Ella and Frankie. Mort Sahl heard the records, took a look at gamin-faced Joanie, signed her up to accompany him on a 35-city concert tour. Suddenly everybody wants Joanie. She has just made a movie with Mickey Rooney (Columbia's Everything's Ducky), is eagerly sought...
...Dick Johnson, the silliest role in the opera, and Baritone Anselmo Colzani, the only Italian among the principal characters, swashbuckled through the role of the sheriff like a refugee from Gunsmoke. And although the opera provided few memorable arias (one striking exception: Johnson's "Ch'ella mi creda libero"), it had a score full of surgingly beautiful moments. The weakest links in the production were the cavernous sets, borrowed from the Chicago Lyric Opera; they looked for all the world as if they dated back to Caruso...
...Late Late Pumpkin. Two longer fables are also memorable. The first is a Cinderella-and-tonic tale called Passionella, in which a forlorn chimney sweep named Ella sits by the TV set one night when her "friendly neighborhood godmother" turns her into Passionella, a gorgeous movie queen. But the spell works each day only between the first commercial of Huckleberry Hound and the last blab of the Late Late Show. The other playlet, George's Moon, is an astringent parable of faith, hope and hostility. George is a worried little man who lives alone on the moon, counting craters...