Word: familiar
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Dates: during 1920-1929
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...Evening Post writer, conceived this first offering of Bela Blau, Inc., prosperous and principled new producers (TIME, May 13). Among his characters he included a drunkard who, as played with strange understanding by Hugh O'Connell, is one of the season's great. Inebriates are of course familiar to the stage, but the antics of most of them seem like distorted mummery beside Mr. O'Connell's gentle and imaginative euphoria. As a chubby, post-War wastrel at a houseparty in Barbizon (just outside Paris) he may be found continuing his perennial search for a champagne...
...Most Immoral Lady (First National). The duplicity of wives who lure rich men into compromising situations so that their husbands can collect money from them has long been familiar to theatre audiences. It is less common in the cinema. The hints that before long Leatrice Joy will fall in love with one of her dupes even keep her from being as boring as her stolid acting usually makes her. Changing A Most Immoral Lady into a picture has slowed its tempo and made even more insubstantial its faint flourishes of wit. As though recognizing this the producers have dressed...
...chance. With sly intrigue and ruthless, slashing, open vituperation he routed his patron at the Party Congress two years ago, seized the Presidency of the Radical Socialists for himself. After all there are some 20 party groups in France. Outside his own Edouard Daladier remained only a vaguely familiar name-until last week. Then his number turned up on the madcap, illogical roulette wheel of French politics. He was called to form a Cabinet for France...
...foot steel truss, the largest ever used, capable of carrying more than 11,000,000 pounds). After Conductor Giorgio Polacco has become a shadow in a bowl of shadow, his shirtfront and the tip of his nose touched with golden light from the page in front of him, the familiar strains of Aïda will begin (Rosa Raisa and Charles Marshall in the leading parts...
...girl and her companions, painted on the steel curtain of the Chicago Civic Opera's new $20,000,000 opera house, compose an exciting pattern of "figures from familiar operas." Familiar though the operas may be, the figures are unfamiliar. They toss fruit, banners, lanterns, cymbals. Among them strut farm animals. All is barbaric, lyric, crowded, for carnival is being made or perhaps a victory celebrated; perhaps the victory of opera in Chicago...