Word: frenchman
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...Frenchman would rather have a big British Army in existence than any other army, except the big French Army. The way in which things are looked at in France, even by the proletariat, made the defense moves taken in Paris last week important (not necessarily decisive) in the labor war which anti-Daladier zealots tried meanwhile to kindle, with some success...
...finest, cagiest and laziest painters is André Derain. His Por of Catherine Hessling, in the Chicago Institute, and his landscape. Southern 'in. the Phillips Memorial Gallery Washington, are perhaps the two most jobs of their kind owned in the S. A big, bland Frenchman with a love of fast automobiles (he owned five), a facile mastery of tech and a cold Norman disinclination to commit himself to artistic movements, 58-year-old Derain is France's particular among the moderns because he car on the glories of French tradition...
...Trees (see cut) were ranked last week with those of the great arboreal Frenchman, Segonzac. Morris Kantor, who does not even try to paint in Manhattan or any place that is "emotionally overpowering." and never anywhere on grey days, eschews Surrealist or other theorizing and thinks the best way to get U. S artists over their self-consciousness is to let them alone...
...people militarized but not militaristic is well shown with pictures of the drab uniforms and hard work that go with "service militaire." The absence of petty regulations and delegation of responsibility to men of low rank is also shown, for these make army life compatible to the independent Frenchman. And to an essentially pacifist people the price of peace, however dear, is less than the costs of war. The film shows the price: from munitions and aircraft factories (manufacturing 400 planes a month) down to the Peace of Munich, or compromise with cherished ideals. Less editorialized than most of Time...
Five years ago, before the cry of the jitterbug was heard in the land, a boyish, exuberant Frenchman was busy filling a medieval French castle with hot phonograph records by U.S. jazz players. The Frenchman, Hugues Panassié, had never seen a U.S. jazz orchestra in the flesh. But what he heard on records convinced him: 1) that jazz was a very important type of music, 2) that the difference between good and bad jazz was worth serious critical consideration, 3) that this difference depended not on how jazz was written but on how it was played. To drive...