Word: fustianeer
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London's independent Economist wrote icily: "Fustian and bromide . . . [The program] will cause some stirrings in the Socialist graveyards ..." The Liberal Manchester Guardian sniffed: "Skillful patchwork . . . but the triumphant Socialist spirit has evaporated...
Portrait of Jenny (Selznick), originally a wispy, sentimental fantasy by Robert Nathan, has become in Hollywood's hands a piece of purest fustian. The yarn it spins oncerns a young painter (Joseph Cotten) who falls in love with a twelve-year-old sprite of a girl named Jenny (Jennifer Jones). Though she has been dead for years, Jenny goes right on popping in & out of Cotten's life. What is more confusing, she is a few years older every time she appears and soon reaches an age where it is respectable for Gotten, who is aging only normally...
...Anne's case, history itself proved a rattling good dramatist, and Anderson has certainly not played down the original script. Anne of the Thousand Days has scenes of spitting, highbusted theater, and a good many moments-early rather than late-when it is about equally fustian and fun. It is full of twists and contrasts-of Anne's hate turning to liking as Henry's liking turns to hate; of Henry's determination to have a son for the throne and Anne's determination to have a throne for her daughter (Elizabeth...
Richard Strauss: Ein Heldenleben (Pittsburgh Symphony Orchestra, Fritz Reiner conducting; Columbia, 10 sides). A wag once tried to describe this fustian piece: "It is he, the Hero, and he has been drinking again. He is in E flat, and his cuffs are soiled by numerous dissonances . . . Four plain-clothes detectives come in on a sharp glissando, and, seizing the Hero, throw over his head a dark-tasting chord . . ." Performance: good. Suite from Der Rosenkavalier (Philadelphia Orchestra, Eugene Ormandy conducting; Columbia, 6 sides). Some of the pleasantest music Richard Strauss ever wrote, pleasingly played. Recordings: good...
...with the appearance of his new version of "Pictures at an Exhibition," Horowitz, completely the master of his instrument, of his audience, and of the music he played, was magnificent. It was an orgiastic reincarnation of Franz Liszt holding all Europe spellbound with his fustian brilliance. And from there on the concert retained that atmosphere. The last ensore, Horowitz's own variations on Mendelssohn's Wedding March--a composition completely Lisztian in its blend of bombast and puckishness--was the perfect bravura curtain line for the whole exhibition. Horowitz the genius; Horowitz...