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Word: joans (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

...shadow--one of the many that Hope shies away from throughout. Most of the fun derives from his attempts to extricate himself from tight spots with cracks like, "I gotta go now--just remembered I left my horse outside double-parked." In addition, Paramount manages to overwhelm Hope with Joan Caulfield, Marjorie Reynolds, a Mme. Pompadour whose personality is on view only briefly, and a Hollywood-version Spanish Court filled with blondes...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer | 12/2/1946 | See Source »

After three months largely concerned with gimcracks and revivals, Broadway itself revived last week. On successive nights, three established U.S. playwrights-Maxwell Anderson with Joan of Lorraine, George Kelly with The Fatal Weakness, Lillian Hellman with Another Part of the Forest-brought showers or real rain to parched ground...

Author: /time Magazine | Title: The Theater: Big Week in Manhattan | 12/2/1946 | See Source »

...Joan of Lorraine (produced by the Playwrights' Company) was really Ingrid Bergman's evening-her first on Broadway since 1940-for Maxwell Anderson has written not so much a play as something playable. But it is enough to call forth all that is charming, serene and radiantly childlike in Miss Bergman, who, like the Joan of Arc she portrays, is a kind of presence...

Author: /time Magazine | Title: The Theater: Big Week in Manhattan | 12/2/1946 | See Source »

Bernard Shaw having walked off with Saint Joan for the theater of his time, and perhaps of all time, Playwright Anderson prudently goes at her sidelong, writing a play within a play. He portrays actors rehearsing, on a bare stage, a play about Joan; and he laces their drama with hers by having the director (nicely played by Sam Wanamaker) and the leading lady squabble over the script's delineation of the Maid...

Author: /time Magazine | Title: The Theater: Big Week in Manhattan | 12/2/1946 | See Source »

...starry-eyed actress refuses to accept a Joan willing to compromise, to achieve her mission by working with evil men. The more hard-headed director, a typically Anderson dialectician, defends such a conception, and redefines the actress' idea of "faith." All set to throw up her role, the actress discovers, while rehearsing the final scenes, a Joan intransigent enough to die for her beliefs-and settles for that, with the director, as the true test...

Author: /time Magazine | Title: The Theater: Big Week in Manhattan | 12/2/1946 | See Source »

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