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Word: fatuousness (lookup in dictionary) (lookup stats)
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...Birds. Hitchcock-a-doodle-doo in the form of a fatuous plot makes for a slow start; but when the birds finally get a chance to do their stuff, the feathers fly as hordes of gulls, finches and crows go to war against humanity...

Author: /time Magazine | Title: Cinema: Apr. 19, 1963 | 4/19/1963 | See Source »

...Birds. Hitchcock-a-doodle-doo in the form of a fatuous plot makes for a slow start, but when the birds finally get a chance to do their stuff the feathers fly as hordes of gulls, finches and crows go to war against humanity...

Author: /time Magazine | Title: Cinema: Apr. 12, 1963 | 4/12/1963 | See Source »

Music at Midnight, a new play that is fatuous in a wholly undistinguished way, brings the urgings of Moral Re-Armament to the Boston stage. To discuss it at any length would be to pander to its pretentions; it is noted were only because it has come to this country from a even-months' run in London, and because the Wilbur Theatre, for reasons unknown, has seen fit to shelter it. The play concerns itself with the Hungarian revolution of 1956, and with Britain's reaction to it (No doubt his is why the British liked it: the play ignores...

Author: By Anthony Hiss, | Title: Music at Midnight | 3/27/1963 | See Source »

Mockingbird has nothing very profound to say about the South and its problems. Sometimes, in fact, its side-porch sociology is simply fatuous: the Negro is just too goody-good to be true, and Peck, though he is generally excellent, lays it on a bit thick at times-he seems to imagine himself the Abe Lincoln of Alabama. But the children are fine. John Megna, who played in Broadway's All the Way Home, has talent as well as teeth. Mary Badham and Phillip Alford, a couple of nice kids the producer found in Birmingham, don't have...

Author: /time Magazine | Title: Cinema: Boo Radley Comes Out | 2/22/1963 | See Source »

...this performance, its New England premier. In Act I, Tituba (Sandra Provost) made the most of describing her encounter with the devil. In Act III, Abigail Williams (Linda Phillips) made the court room scene, in which demons appeared to her, fun; a dull, dull text quashed her immediately. Given fatuous parts, many of the other singers (Mary Liverman, Ivan Oak, John Ring, Mary Lou Sullivan, and Robert Donaldson) strove mightily to overcome them. The set was imaginative and attractive: the skeleton of a frame house served a surprising variety of functions during the four, tedious acts...

Author: By Joel F. Cohers, | Title: The Crucible | 2/16/1963 | See Source »

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