Word: fashion
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Dates: during 1940-1949
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...their fashion, Pepi's counterparts in London (Hugh Shaw), Rio de Janeiro (José Gallo), Cairo (Abdel Basset El Taher) and Shanghai (the three Wongs) are equally adept. Shaw, a small, taciturn, greying Englishman whose way with automobiles approaches genius, will be long remembered by the squads of photographers he maneuvered through London's blazing streets for vantage shots of the blitz. Gallo is a politically indispensable young man who has somehow made himself welcome at the headquarters of all of Brazil's political parties. Abdel, an Upper Egypt man with the Egyptians' fine feeling...
...deceptively sound and while there is food enough to handle all expected tourists, there is certainly none to spare. The tourist compensates for his food consumption by his usually large outlay, but the student, travelling on restricted means is in no position to recompense the country in such a fashion, and though the black market is now pretty well minimized, a sudden influx of soap-laden pseudo-students might well start it off again on its illegitimate...
...human being can live-after a fashion -minus his stomach, his pancreas and half his liver. How much can he lose and still survive? A noted cancer surgeon last week offered some startling new data on that old question...
Getting off to a smoldering start in New York City, the action manages to meander through both time and space in haphazard fashion that loses much of the plot in the resulting confusion of dash-backs and scene changes. June Allyson, daughter of a piano virtuoso gone wrong, seems inspired to follow the fingers of her unlucky father to her doom. But before she strikes too many wrong notes, the rest of the cast comes bustling to her rescue, uncovers her hidden love and chalks up another point for the old Arabian saying...
...most obvious fact about this movie is that it could hardly be improved on. Richard Murphy's script clarifies the community's characters, conflicts and issues in crisp, journalistic fashion; Norbert Brodine's camera work is as clean and precise as the script; the whole show ticks like an expensive watch. It is the best film to date by Producer Louis de Rochemont, who has already dedicated a couple of good ones (The House on 92nd Street, 13 Rue Madeleine) to the proposition that nothing is quite as real as the real thing, artfully used. This time...