Word: film
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Dates: during 1940-1949
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...decided to continue its world-wide publishing operation that had been built up from wartime necessity, we consolidated all of these far-flung printing operations in Paris in the Atlantic edition, so that Europeans could read their copies of TIME while U.S. citizens were reading the same issue. The film developed during the war, now flown from the U.S. to Paris, makes this fast printing schedule possible...
...Shamrock opening alone was not enough to keep McCarthy busy this week. The next day, he had the world premiere in two Houston theaters of The Green Promise. An earnestly wholesome movie about the 4-H Clubs, it was the first film of Glenn McCarthy Productions. Says McCarthy: "Of course I have several other things planned, but I can't tell about them now . . . You don't just stand still, you know...
...hurried to Mississippi on location to film William Faulkner's Intruder in the Dust, a novel about an attempted lynching. Twentieth Century-Fox was preparing Pinky, a story about miscegenation, and had in reserve No Way Out, a tale of a Negro intern. In New England, Louis de Rochement, the first to announce a project on the Negro theme, was shooting for Film Classics, Inc. a picture called Lost Boundaries, about Negroes who pass for whites...
Devil in the Flesh is a profoundly moving film because it is profoundly honest. With an ear for dialogue as accurate and intimate as a wire recorder in a bedroom, Writers Jean Aurenche and Pierre Bost (who also collaborated on Symphonie Pastorale) have provided a script that is at once ruthless, compassionate and quietly penetrating. Working in the same low natural key, Director Claude Autant Lara has produced an extraordinary fluoroscopic effect of life-in-depth. The lovers' moments of clandestine passion (as frank as any that have recently reached the screen), their childish gaiety, their anguish and fears...
Anything but frothy and rarely funny, the film turns a gay dog of an artist (Louis Jourdan) loose in the happy home of a stuffy, successful pediatrician (Dana Andrews) and his wife-receptionist (Lilli Palmer). Stung by the doctor's smug criticism of his art, the tempestuous painter cuts him down to size by trying-almost successfully-to break up his marriage. In the process, the picture tries-and always fails-to palm off drivel as drollery. Sample: a long, witless sequence in which the artist weeps for some lobsters that are boiled alive for the doctor...