Word: jeane
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Dates: during 1930-1939
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Best-known among Broadway's newspaper critics (not including magazine critics such as Robert Benchley, George Jean Nathan, Joseph Wood Krutch, who are also members of the Critics' Circle...
...most people, Greek and Roman drama is something laid away in mothballs. Yet when, with modern tailoring, it is taken out and worn, most people admire it. When Broadway roared last season at Jean Giraudoux's Amphitryon 38, it was really patting some forgotten Greek dramatist on the back for his Amphitryon 1. When Broadway flocked to O'Neill's Mourning Becomes Electra, it was saluting Aeschylus' Oresteia with a Down-East accent. And given practically straight, Aristophanes' lewd, witty Lysistrata proved a Broadway...
...contain two separate climaxes, the film nevertheless succeeds by virtue of the sheer beauty of the dance, the genuine character of the dancing school atmosphere, and the well-chosen background music. Janine Charrat, as the child ballerina, has been carefully directed with a view to psychological complications by Jean Benoit-Levy, and as a result her performance in more convincing than that of her adult co-stars. Particularly colorless is Yvette Chauvire, for whose love the child arranges the crippling of Mia Slovenska in the midst of her performance of "The Dying Swan." As entertainment, the film has novelty...
...vain, cruel, tender, and generous, she succeeds in making it credible. If Charles Boyer is overshadowed, it is because the script was so constructed, not because of any weakness in his performance; and the minor characters--even the impossibly naive Gilbert (Robert Manuel) and the eccentric, hardly credible Robert (Jean Louis Barrault)--are skillfully portrayed. Only on one occasion, when the two principal women engage in that lush sentimentality so often employed to resolve a triangle plot, does the pace become slow; and the ending, tragic and impelling in the vein of the whole film, again revolves about Francoise...
...Symphony actually began to pile up a profit at the box office. The size of this profit put it in a different class from most other WPA orchestras, enabled it to pay the high performance royalties asked by such ace contemporary composers as Dmitri Shostakovich, Serge Prokofieff, Paul Hindemith, Jean Sibelius...