Word: glamourizer
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...year," says Grady Green, vice president of the $351 million Channing Growth Fund. Channing ranked high in 1967, when it grew 47%; last year, with a growth of 2.6%, it was 296th. Like the Manhattan Fund and many other big funds, Channing was heavily invested in the more seasoned glamour stocks-Ling-Temco-Vought, Fairchild Camera, Polaroid-that declined during the stock slump before Lyndon Johnson's March 31 renunciation, and have been slow to recover. Big funds cannot move out of such stocks quickly without upsetting the market; but smaller funds can-and they did. In a highly...
...many different eras of movie-making the film describes. His black-and-white-and-red-all-over flashbacks do evoke the twenties; the flagrantly overdirected love scene in Lylah's old room effects a stylistic shift in two cuts from '60's modernism to '30's glamour; the final studio scenes provide violent clashes of imagery and decor which complement the growing take-over of the dead Lylah. What Lylah Clare means is ambiguous and personal, and depends anyway on whether you can take the film seriously at all. For my part, I reject all this talk about High Camp...
...past six years, more than 40 articles in many magazines, including Glamour, Esquire, Look, LIFE and New York, have established her as a prolific and competent journalist. Escorted by the likes of Mike Nichols and John Kenneth Galbraith, she has become a quiet celebrity in her own right. Unmarried at 32 (her steady boy friend is TV Writer Herb Sargent), she is one of the few fascinating singles left in the literary set since George Plimpton took the vows...
...things he does is meet Maggie Smith, in the form of a character named Patty Terwilliger. Patty, like Marcus, is one of those people success and glamour have passed by. She can't keep a job (she loses a position as a meter maid because she doesn't have the heart to give a ticket); she attracts wretched men; and, when she cooks dinner for a gentlemen caller, the meal burns on the stove...
...does it without resorting to the gratuitous flashiness of a Norman Jewison work). The jokes provided in the Ustinov-Ira Walach screenplay are unfailingly gentle, and, in the case of some bits involving Robert Morley and Casar Romero, quite funny. What the film lacks in physical beauty and glamour, it replaces with humour and heart. I'll take two inarticulate bumblers falling in love while their dinner burns over two rich sex-symbol thieves any day in the week...