Word: girls
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Dates: during 1920-1929
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...Squall. The best stage storm of the season disrupts the serene domesticity of a Spanish household. From under the black clouds, into a country home, scurries a gipsy girl, fleeing from her man with a whip. The ladies of the household take her under their protection-foolishly, because the gipsy has more sex appeal than all the rest of the family put together. Within one year (intermission) she seduces the manservant, the son and the master of the house. And she does these things in the big parlor hall that gives on every room in the house. The ladies...
...another how sweet it is. The audience, surfeited, looks on skeptically, for the kiss-cuddle-coo is supposed to have been continuous for three years, and in Paris. There is a father (Bruce McRae) who has ordered the hero-son out of the house for having loved the wrong girl, for having composed popular songs. The parent then falls in love with the girl himself, proving that the hero was right. On Fay Bainter's arch pouting and ogling rests the burden of entertaining the audience through three word-puffed acts. The burden is too great, even though shared...
...Naked. A girl, frail, comes to detest herself, drinks poison, invents ax lovely lie of disappointed love to justify her conduct, clothe her unlovely nature with attractive personality. Doctors come to the rescue. Subsequent arrival of alleged betrayers strips her of the pretty lie, reveals her what she really is. The shame is top cruel. She drinks poison again, dies this time, confessing her naked self...
Behind the slim plot, through long-drawn-out dialogue, Italian Dramatist Pirandello's philosophy of reality struggles to reveal itself. Facts are not reality, are merest illusions of the senses. Fiction of the imaginative mind is the only true reality. Hence the pity of it: a poor girl torn out of her last shred of beauty, revealed even in death, a sordid fact...
...straight "girl show," catering to the follies and foibles of tired business men, The Pearl Of Great Price might have come up to the best Shubert tradition. As a morality play, its sly emphasis upon the fleshly temptations, its substitution of "Mammy" sentimentality for virtue, its salacious exaltation of a physical technicality to the plane of spiritual value damn it. It is simply a huge hypocrisy parading under a thin veil of moral pretense...