Word: kern
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Dates: during 1950-1959
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Music In the Air (music by Jerome Kern; book & lyrics by Oscar Hammerstein 2nd; produced by Reginald Hammerstein) still has what it had when first produced in 1932-an extremely engaging Jerome Kern score. It no longer has very much else. Even in 1932, it employed old-fashioned European operetta largely as a model, if sometimes as a butt; its best chance in revival was to capture the nostalgic charm of an unabashed period piece. But as revived, the show as badly lacks bouquet as the production lacks style...
...five: Indiana's Capehart, Montana's Ecton, North Dakota's Langer, Kansas' Schoeppel, Missouri's Kern...
...fast to be good. ¶ As the number of old people has increased, medicine was ready with a word: geriatrics, a branch of medicine dealing with the ailments of the aged. But geriatricians will be few & far between, says Temple University's Dr. Richard A. Kern. "No one will admit that he is old until long after that fact is obvious to everyone else . . . He who announces the limitation of his practice to geriatrics will probably starve, "† ¶ Three doctors at the Cleveland Clinic think they have found the connection between nervous tension and high blood pressure. They...
...across the screen twice before, in 1929 and 1936, but never with such a lavish hand at the helm. M-G-M poured $2,400,000 into the latest voyage, refitted the venerable Cotton Blossom with a bight profusion of crisply Technicolored costumes, sets and vistas. The memorable Jerome Kern-Oscar Hammerstein II score (Ol' Man River, Make Believe, Why Do I Love You?) is as dependable a mainstay as ever. But never has Show Boat seemed so filled to the scuppers with corn...
...movie is hardly more fortunate in its casting. Kathryn Grayson and Howard (Annie Get Your Gun) Keel, playing Magnolia and Ravenal, lift good voices in Composer Kern's buoyant songs, but Actress Grayson is less than entrancing as the belle of the Cotton Blossom, and Actor Keel's impression of a well-born river gambler's courtliness and dash looks like self-conscious make-believe. Ava Gardner, if occasionally out of her dramatic depth, has no trouble looking her part as the sensuous Julie. But she half-whispers Helen Morgan's old numbers (Bill...