Word: kerrs
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Dates: during 1960-1969
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Incoming President Vaughan Carrington Mason, 46, of Manhattan, criticized the King-Anderson bill, too. But, separating himself a little from all the harmony, he took after one of the A.M.A.'s favorite laws, the Kerr-Mills Act, which routes federal money to the states to set up medical-care plans for the near-indigent aged. So long as "states that do not even believe in the dignity of some of their citizens . . . deprive Negro citizens of their rights, what faith can I have that they will treat the sick, needy aged Negroes any better...
...coverage for the aged. A compromise resolution, beginning with seven "Whereases," paid lip service to the A.M.A. doctrine that the individual should provide for his own health care in old age. But it proposed that states stop dragging their feet on legislation to provide medical care for the aged (Kerr-Mills benefits are now effective in only 20 states), and demanded "fair and equal distribution of this aid, and its benefits to the Negro aged, in those states which historically discriminate undemocratically to the disadvantage of the Negro." The delegates adopted the compromise...
...Marquette University lumbered a truck from Washington, bearing about one-quarter of a weighty new gift: the personal and public papers of a 1935 alumnus, the late Republican Senator Joseph R. McCarthy. Donated to the university by the Senator's widow and ex-research assistant. Jean Kerr McCarthy (soon to become the wife of Civil Aeronautics Board Member G. Joseph Minetti), the first shipment of 30 packing cases contained mostly press notices of the Senator's storm-tossed career. But the remaining material, with its dossiers on his bétes rouges, would undoubtedly be more incendiary...
Quite a few customers may want to. The much-whooped ending is mildly exciting, although predictable and straight out of the parts bin. But the body of the film is tedious and unconvincing. Cooper is supposed to be an American businessman in London whose wife (Deborah Kerr) suspects that he is a murderer. It is all very sinister; Coop gives testimony that convicts a business colleague of murder and then, with a stolen moneybag still not found, begins throwing pound notes around. When his wife asks where the cash came from, he mumbles something about the stock market and adds...
Hokum accretes; Coop plays shady scenes with an oil-slick partner (Michael Wilding) and a blackmailer (Eric Portman). Every five minutes or so, Actress Kerr's lip trembles; Coop says, "We're going home and talk this thing through," and sure enough, they do. It is a fine, sentimental thing to watch Coop walk across a room, long arms held out from his hips, hands curving in toward invisible six-guns, and it is a useful time killer, while the plot boils on, to speculate about how a director might have made Coop a credible villain...