Word: haywards
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Dates: during 1940-1949
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...free-wheeling banking practices, the oldest brother (well played by Luther Adler) fixes it so that Conte gets a seven-year stretch in prison for trying to bribe the jury. The rest of the plot, including Conte's sultry romance with a rich play girl (Susan Hayward), is routine...
...girl who gets rescued from the fire, and who indirectly caused it, is Susan Hayward. Pretty enough to spark all sorts of explosions, Susan gets this one under way by vowing vengeance on a local oil baron (Lloyd Gough) whom she holds responsible for the death of her father. While trying to beat him at his own game, she succeeds in developing oil wells by the dozen, and presently finds that her lust for vengeance has turned into a lust for money and power. Meanwhile, her emotional life develops a three-way split between her loyalty to a rich Indian...
South Pacific (music by Richard Rodgers; lyrics by Oscar Hammerstein 2nd; book adapted from James A. Michener's Tales of the South Pacific by Mr. Hammerstein & Joshua Logan; produced by the Messrs. Rodgers & Hammerstein in association with Leland Hayward & Mr. Logan) opened to an advance sale of $500,000 and the kind of notices ("utterly captivating"-"truly great") that should keep it on Broadway for years. As an all-star production, it almost merits such notices. As a show, it does...
...took an ad to call critics "a sort of Jukes family of journalism." Even this season, when his Anne of the Thousand Days (TIME, Dec. 20) set critics to reaching for their superlatives, Anderson was not mollified. With fellow members of the Playwrights' Company and Co-Producer Leland Hayward, Anderson decided to put the critics in their place by not taking any display ads nor quoting a word of their praise...
John Payne, as the novelist, just hasn't got enough screen personality to make Saxon's dominion over him seem worthwhile. The wife, Susan Hayward, registers tender anxiety throughout without much success, and Audrey Totter, as Saxon's girl friend has to cope with the sort of "I-love-him-the-brute" part which was thoroughly explored by Clara Bow a long time...