Word: familiarity
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Dates: during 1930-1939
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...Joseph Calleia) of the Purple Gang, who escaped at the same time. From that point on, the story follows the accepted G-Man course: a hunt, punctuated by machine-gun fire and climaxed by the villain's death, this time in a theatre. It even includes two other familiar episodes culled from the Dillinger saga, the siege in a roadhouse and plastic surgery for purposes of disguise. These details. however, for cinemaddicts who find the current school of underworld melodrama the most exciting furnished by the cinema in the past three years, will merely serve to emphasize the obvious...
...broken up into regular metrical lines. Reading aloud the first story, "Candy-Man Beechum," with its rhythms which invite a singsong intonation and its refrain-like repetitions and variations of phrase, one gains much the same impression as from a Vachel Lindsay chant. There is, besides, the method familiar since Hemingway of crowding together important and unimportant things without emphasis or subordination...
...second movement is an elegy commemorating the death of the cricketer L. P. Hedges, the poet's friend; and the third, which consists of parodies and echoes of familiar styles, suggests the musical form of a theme and variations. Some of the parodies are especially good...
Assuming that the plot of Camillo will be more or less familiar to everyone, the French outline with charming delicacy the story of the little grisette who, coming to Paris with much beauty and no money, sets out upon the primrose path. Just what particular gentleman is paying for her sumptuous lodgings, her lace-hung bath, and her carriage is left indefluite, but there is no doubt that all vie for the privilege. After meeting at a carnival, Marguerite Gautier (Yvonne Printemps) and her idealistic young lover, Armand Duval, escape to a cottage in the campagne. An admirable restraint marks...
...results of their experiment were discussed last week by the man whom Pioneer chose as the first to carry the title of ''color director," which may soon become a familiar and important one in the Hollywood hierarchy. He was Robert Edmond Jones, famed Manhattan scenic designer, who arranged sets and worked out color schemes for both La Cucaracha and Becky Sharp. In 1930, Technicolor cameras had used two negatives, one to record reds and yellows, the other to record blues and greens. The chief faults in this process were that it blurred all outlines, failed to register either...