Word: heroic
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Dates: during 1950-1959
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...play starts when the hero, Dick Dudgeon, who is the black sheep of a pious New England family, gets a legacy. This isn't right, for black sheep don't usually get legacies and heroes don't usually triumph at the beginning. When Dick later decides to be heroic he does so just because he feels like it, and not for the love of the minister's beautiful young wife, as he should. And when the elderly minister should become heroic, he's a coward. In the end, however, the minister appears with pistols, and both he and Dick Dudgeon...
...most magnificient spectacle, Agamemnon by Aeschylus. Under a light drizzle, a large audience gathered at the far end of the horseshoe to watch the Greek tragedy produced as it originally was. The setting was complete with horses and chariots, nothing less than a "brillant pageant, typical of the heroic days of ancient Greece," as the Herald enthusiastically said...
...systematic destruction of Stalin's "cult of personality" by Russia's new masters (see FOREIGN NEWS) is beginning to shake Soviet painters as well as the commissars. Instead of the models of heroic realism, which Russian painters have been forced for decades to turn out with machinelike standardization, Soviet painters have started shyly showing each other paintings they have kept carefully hidden away. Reported one recent visitor to Moscow: "Remarkably like Cézanne...
...last week the new party line had at least partial approval from the greatest Soviet realist of them all, Stalin's favorite portrait painter and president of the Soviet Academy of Art, Alexander M. Gerasimov, 74, whose heroic, mural-sized painting of Stalin and Marshal Voroshilov on the Kremlin ramparts recently disappeared from the Tretyakov State Art Museum. In a signed three-column article in Sovyetskaya Kultura, Gerasimov publicly confessed some errors of the bad old days: "The cult of the individual has done considerable harm . . . Recollecting certain of my works of the past years I must admit that...
...direction, Lewis R. Foster has managed to make ideas as well as characters come clear, and when the lines are especially good, his actors tactfully subordinate themselves to what they are saying. Don Taylor and Wendell Corey play neatly in tandem as the cowardly hero and the heroic coward, and France's Nicole Maurey does something rare in dramatic history. She makes a believable human being of the sentimental prostitute. But it is Mickey Rooney who brings off the best scene: a crap game so shatteringly funny that it almost breaks up the picture...