Word: flaminia
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Dates: during 1950-1959
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Drafted into a road race for glamorous types who sped for publicity from Rome to Sicily, bosomy Cinemactress Anita Ekberg teamed up with willing Italian Cinemactor Antonio Gerini, set forth in her blue Lancia Flaminia roadster. In the southern town of Castrovillari, the couple tooled abreast of a human roadblock-a group of Anita's male partisans, who screamed, pounded on the car and tried to touch her in order to make sure that she was real. Rattled Driver Gerini tried to bulldoze his way through the idolaters, succeeded in setting off a stampede, gently bowling over a half...
...FACE FOR THE WORLD TO SEE, by Alfred Hayes (I 83 pp.; Harper; $3), is the latest book by the author who, a decade ago, wrote The Girl on the Via Flaminia, an effective novel about the blighted romance of a frail-gunning G.I. and a beautiful Italian girl who is bothered about being bought. Now Scriptwriter Hayes (The Rainmaker, Island in the Sun) has restaged his old no-soap opera. This time the shattered city is Hollywood. The Girl on Wilshire Boulevard is a blank-souled beauty with a neurotic yearning for stardom. The sentimental, insensitive...
...than the next ten. He finally gave the accolade to four hit plays: The Caine Mutiny Court Martial, Tea and Sympathy, The Teahouse of the August Moon, The Confidential Clerk; and to six financial failures: The Golden Apple, Take a Giant Step, The Immoralist, The Girl on the Via Flaminia, In the Summer House, The Magic and the Loss...
...book is again enlivened with Hirschfeld's witty caricatures (from the New York Times), and action photographs (from the files of LIFE) replace the usual static poses of publicity stills. Kronenberger notes that two of his ten best (Golden Apple and Via Flaminia) originated off-Broadway. Perhaps, he says, "the prime significance of '53-'54 will be that Broadway, just then, began to be saved (or could it have been doomed?) by off-Broadway's contributions...
...score big was George S. Kaufman with The Solid Gold Cadillac, and he only in collaboration with Howard Teichmann, and with help from a lady-Josephine Hull. But among the many promising first-timers on Broadway, there were not only Tea and Sympathy's Anderson, Via Flaminia's Alfred Hayes and End As a Man's Calder Willingham, but Louis Peterson with Take a Giant Step, Jane Bowles with In the Summer House and Julian Funt with The Magic and the Loss...