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Word: glyn (lookup in dictionary) (lookup stats)
Dates: during 1920-1929
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Usage:

...Moment (First National). Billie Dove re-establishes an oldtime tenet of picturemaking, to the effect that if an actress is good-looking enough she does not need to have stories written for her or to know how to act. Elinor Glyn was hired to make up some thing about a bride who gets out of her husband's stateroom on the wedding morning, but the plot is halfhearted, as though its famed authoress were conscious that her fatuities were required simply for the sake of convention. It is a picture for people who like love on yachts and among...

Author: /time Magazine | Title: Cinema: The New Pictures Aug. 19, 1929 | 8/19/1929 | See Source »

Notable only in that it furnishes another good reason for the concluding of the Clara Bow era in Boston. "Three Week Ends", the film now at the Metro-politan parades the scenario art of Elinor Glyn, and a lot of weird action at a pace that is fortunately fast. The director of the production deserves all the credit he can get for having brought this about...

Author: By A. G. C., | Title: CRIMSON PLAYGOER | 12/1/1928 | See Source »

...Hour. A girl called Cuddles (Sally O'Neil), some rich and roistering men, flasks full of cockeyed consomme, petting nights and sad-eyed days -one just knows that Elinor Glyn wrote the original story. But old irony played its ace and The Mad Hour turned out to be tragedy. Cuddles married a rich man, got mixed up with a crook, was sent to jail, lost her child, committed suicide...

Author: /time Magazine | Title: Cinema: The New Pictures Apr. 30, 1928 | 4/30/1928 | See Source »

...lily pond, and rose to the surface with only a lily in her red hair. She was an amorous manicurist, clipping three elderly clients for clothes until she met the nephew of one, whereupon in a burst of reform and shame she took the climactic pond plunge. Elinor Glyn devised the diverting asininity...

Author: /time Magazine | Title: Cinema: The New Pictures Apr. 9, 1928 | 4/9/1928 | See Source »

There were no startling changes during the first few days of the Moore regime. Photographs of girls with their legs crossed and dresses barely covering the hips continued to appear on the front pages; Elinor Glyn kept on writing about "It;" Gustave Flaubert's Madame Bovary ran along in pictorial form so that no gum-chewer could miss the point. In the Mirror were photographs of a Negro and a white baby, "brought together by fate" at the Bellevue Hospital in Manhattan. The Negro infant got the caption...

Author: /time Magazine | Title: The Press: O, how full | 3/19/1928 | See Source »

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