Word: eyeful
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Dates: during 1950-1959
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Artist Boris Artzybasheff has a cool, ex-machine gunner's eye that can ruffle even the armor of a battleship, and has. With a knack for spotting an ogle where an I-beam ought to be, Artzy has been doing covers for TIME since 1941, created a pistol-packing battleship as background for Japanese Admiral Nagano, a school of sea-monster telescopes for Admiral Doenitz, a Veto-Bug for Gromyko. A special euphoria overtakes Artzy when the humans depart, leaving the machines alone with their fears, grimaces, ulcers and unique sex-appeal. Among Artzy's memorable anthropomorphic revelations...
This movie might better have been titled "The Treasure of Sierra Mombasa" or "King Solomon's Mimes." With snarling distrust and open greed. Hero Wilde keeps a bloodshot eye on his brother's two partners, now his. because they are just as mean and avaricious as he is. In fact, Wilde distrusts the whole safari-even the coy lady anthropologist (Donna Reed) and her missionary uncle (Leo Genn), and certainly the natives, as shifty-eyed a pack as ever whetted spears. The snail's pace direction makes it seem they will never find that blasted mine...
...philosopher. His is the creed of Nathan "Shagpoke" Whipple, president of the Rat River National Bank and former President of the U.S. In the course of behaving well, e.g., rescuing girls with rich fathers from bolting horses, Lemuel goes to jail, loses a leg, all his teeth and an eye, is robbed of his savings, and is finally martyred by an assassin. On Pitkin's Birthday, a national holiday, the vile Whipple addresses a mob of American fascists wearing coonskin caps: "Jail is his first reward. Poverty his second. Violence is his third. Death is his last." Shagpoke...
...Courthion, translated by James Emmons (149 pp.; Skira; $6.50), and PARIS IN OUR TIME, by Pierre Courthion, translated by Stuart Gilbert (142 pp.; Skira; $6.50), suggest that, if poets make the best historians, then perhaps a city's best tourist guides are her painters. The mind's eye of genius is bound to catch some ineffable quality that the traveler, with or without camera, is bound to miss. That is the premise of these two books, with their 144 handsome color reproductions of Paris from the 14th to the 20th centuries, around which Art Critic Courthion...
...always the same with church paintings. If they are on the wall more or less at eye-level one cannot see them because it is so dark, and when they are near the light, in the dome, they are so high up one cannot see them either...