Word: get
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Dates: during 1930-1939
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...working himself up to this breakdown, Orator Göring cried: "We want peace but Versailles took peace out of the world! . . . We can always shoot but we never get jittery . . . God is kind! . . . Our air force justifies unshakable confidence in victory and our fortifications in the west will halt any power under...
...building in the north of India. Largely made on location near Chitral, Drums contains some of the most dazzling sequences ever recorded in Technicolor, but Director Zoltan Korda-wiser than many of his U. S. colleagues when confronted with this medium for the first time-refused to let it get out of hand. Consequently, his picture marches with considerably more vigor than anything his brother Alexander Korda's London Film Productions has made since The Private Life of Henry VIII, rates as the No. 1 British export of the year...
...elephants and stables his mongoose, Rikki. In his first picture, Sabu memorized the sound of English words, spoke them without understanding. Now, having packed a lifetime's schooling into two years, he not only speaks and reads English but can read French and Latin as well, hopes to get into Oxford in three years. Last week, Sabu sailed on the Aquitania for his first visit to the U. S., in the course of which he will attend the première of Drums, call on Mrs. Roosevelt, meet Shirley Temple in Hollywood...
...Proletarians Joe Jones and Mervin Jules. The subject matter of Labor was conceived generously enough to admit a painting of industrial buildings by Classicist Charles Sheeler. Even more varied was a display of 180 prints and drawings, from the 15th Century to the present, from which visitors could get an idea of how differently Labor looked to Pieter Bruegel, to Honoré Daumier, to James A. McNeill Whistler...
...idea that working people ought to get a chance at Art dates precisely from the time when the Industrial Revolution put an end to handicraft. Its prophets in Victorian England were William Morris and John Ruskin; one form of its fulfillment now is the Federal Art Project's Community Centre program (TIME, Sept. 5). Meanwhile, strict Marxists interpret the social use of art narrowly to mean that art should be an instrument of class struggle, and many Lovers of Labor subjects have appeared. One of these is able Sculptor Max Kalish, represented in the Baltimore show by The Spirit...