Word: joans
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
Topper's nextdoor neighbors are a houseful of leering, peering evildoers and a pair of curvaceous blondes. One blonde (Carole Landis) has returned from China to inherit the place. The other (Joan Blondell) strings along as friend and funster, gets a knife in her back before the night is out. Follows the usual Thorne Smith transmogrification in which Joan turns ghost, floats over to Topper's house, lures him, his wife (Billie Burke), her maid (Patsy Kelly) and his colored chauffeur (Eddie Anderson) back to the scene of the crime for a dose of spooks. Before Topper points...
...Joan Blondell, recently publicized as Movieland's most glamorous mother, is called upon to sexify the plot's other-worldly meanderings is a question, especially when Carol Landis is present in a very solid state. Rochester, apparently benefiting from his expedition to Cambridge last May, appears in a coonskin coat to provide one of the picture's higher points...
...four of the leading abstractionists broke out with simultaneous exhibitions. Argentine-born Frenchman Fernand Leger started out as a Cubist with Braque and Picasso in 1910. Russian-born Wassily Kandinsky and U. S.-born, German-bred Lyonel Feininger were long masterminds of Germany's Bauhaus group. Spanish-born Joan Miro is a surrealist who is more abstract than Surrealist Salvador Dali. Least abstract of the four abstractionists' pictures were those of stocky Fernand Leger, who now lives in the U. S. Leger's intricate designs, drawn with thick, coally lines and colored in flat patches, were made...
...Look (Joan Merrill; Bluebird). The torch record that is putting nickels into the nation's juke boxes. As a result, choke-making Songstress Merrill is looking toward Hollywood...
...some of the most firmly structural, curiously cleansed landscapes in U. S. writing. As an anthropologist she is almost too sharply aware of the symbolic undertones of rural living: she cannot describe a torn sheep or a potato-digging without suggesting The Golden Bough or the poetry of St.-Joan Perse (Alexis Leger). As a woman Elizabeth Madox Roberts has her principal strength, her ultimate weakness. Her strength is an exquisite sensitiveness to the subtlest personal emotions, and to the quieter values of a well-executed prose. Her weakness is a sort of thin though sentient primness; a love...