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House of Strangers (20th Century-Fox) is a richly detailed exploration of a family vendetta in Manhattan's lower East Side. A kind of Mulberry Street version of Joseph and his brethren, it tells the story of Gino Monetti (Edward G. Robinson), an immigrant Italian banker, and his four sons. One of the sons (Richard Conte), a cocky, hard-boiled young lawyer, is his father's favorite. The other three are underpaid, overworked stooges at the old man's bank...

Author: /time Magazine | Title: The New Pictures, Jul. 18, 1949 | 7/18/1949 | See Source »

...Italian film, "Revenge," now being shown at the Beacon Hill, is not cut from the same hearty fabric as were its illustrious predecessors from the country. Though it contains in its cast two of Italy's biggest stars, Anna Magnani and Gino Cervi, their talents can do little to redeem a weak and confusing plot, poor photography, a strident musical score, and the general low quality of the film...

Author: By George A. Leiper, | Title: Revenge | 5/14/1949 | See Source »

Verdi: Aïda (Beniamino Gigli, tenor; Maria Caniglia, soprano; Ebe Stignani, mezzo-soprano; Gino Bechi, baritone; Italo Tajo, bass, and others with the Rome Opera Orchestra and chorus, Tullio Serafin conducting; Victor, 40 sides). With such a cast, Aïda should have come off brilliantly; instead, it just barely comes off, with some good singing (Ebe Stignani's) and some bad (e.g., Gigli's Celeste Aïda is painful). Recording: fair...

Author: /time Magazine | Title: Music: New Records, Mar. 28, 1949 | 3/28/1949 | See Source »

Verdi: La Forza del Destine (Maria Caniglia, soprano; Ebe Stignani, mezzo-soprano; Galliano Masini, tenor; Tancredi Pasero, bass; Carlo Tagliabue, baritone, and others with the EIAR Symphony Orchestra and chorus, Gino Marinuzzi conducting; Cetra-Soria, 36 sides). Some of the singers made Verdi's less worthy opera sound far better than the Aïda. Recording: good...

Author: /time Magazine | Title: Music: New Records, Mar. 28, 1949 | 3/28/1949 | See Source »

Individual performances within the twisted framework of the plot were comparatively satisfactory. Gino Cervi as Mozart looked and acted the abstract conception of the composer, and Luigi Pavese as his father was adequately Deutsch. Italian actresses, unfortunately, do not seem to fill the bill of love interest: Conchita Montenegro as Aloysia would be enough to frighten Eric von Stroheim...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer | 2/17/1947 | See Source »

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